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THE  METROPOLITAN  MUSEUM  OF  ART 


CESNOLA.  COLLECTION 
ANTIQUITIES  FROM  CYPRUS 


HANDBOOK  OF 

THE  CESNOLA  COLLECTION 

OF  ANTIQUITIES  FROM 

CYPRUS 


THH  METROPOLITAN  MUSEUM 
OF  ART 


HANDBOOK  OF 

THE   CESNOLA    COLLECTION 

OF  ANTIQUITIES  FROM 

CYPRUS 

BY 

JOHN  L.  MYRl-S 

WYKEHAM   PROFESSOR  OF  AN'CIENT  HISTORY 
IN  THE  UNIVERSITY  OF  OXFORD 


NFAV  YORK 
M     C     M     X      1     V 


COPYRIGHT    BY 

THE    METROPOLITAN    MUSEUM    OF    ART, 

1914 


Pi 


PREFACE 

THIS  Handbook  is  intended  to  serve  as  a  guide  to  the 
Cesnola  Collection  of  Antiquities  from  Cyprus,  or  more 
precisely  to  those  parts  of  it  which  are  exhibited  in  the 
Cesnola  Room  and  other  departments  of  The  Metropolitan 
Museum  of  Art.  It  offers  at  the  same  time  an  introduction  to  the 
study  of  the  ancient  arts  and  industries  which  the  Cesnola  Collec- 
tion was  formed  to  illustrate.  But  it  is  not  in  the  strict  sense  a 
Catalogue  of  the  Collection,  though  all  the  more  important  objects 
are  described  separately;  for  many  of  less  individual  interest  are 
treated  summarily  and  in  groups,  and  the  large  '  student  series,' 
which  is  held  in  reserve,  is  not  included  at  all.  Nor  is  it  a  formal 
textbook  of  Cypriote  archaeology;  since  it  makes  reference  to  ob- 
jects in  other  collections  only  when  these  directly  illustrate  some- 
thing which  is  exhibited  here,  and  it  gives  only  the  most  essential 
references  to  the  literature.  Those  who  wish  to  pursue  the  study 
further  are  referred  to  the  Selected  Bibliography  (p.  xliii),  and  to  the 
exhaustive  bibliographical  works  included  in  it.  Above  all,  they 
are  invited  to  study  the  Collection  carefully  for  themselves,  in  the 
light  of  these  outlines,  and  of  their  own  common  sense.  Those  who 
have  the  means,  or  the  opportunity,  will  remember  also  that  there 
is  still  much  to  be  discovered  in  C>yprus  itself,  by  any  one  who  has 
skill  and  zeal. 

To  keep  the  Handbook  clear  and  brief,  references  are  as  a  rule 
given  only  to  Cesnola's  own  book,  Cyprus,  its  Cities,  ToDibs,  ami 
Temples;  to  the  official  /Itlas  of  the  Cesnola  Co!leetio)i;  to  the  publi- 
cations of  Doell  and  (^olonna-Ceccaldi  (which  record  how  the  objects 
appeared  before  they  left  Cyprus) ;  and  to  the  third  volume  of  Perrot 
and  (^hipiez's  History  of  Art  ui  Antiquity:  and  even  here,  care  has 
been  taken  to  omit  all  those  representations  which  through  in- 
accuracy or  any  other  cause  have  not  been  identified  be>'ond  dispute 

V 


4H7H«ii) 


I'Rl   TACI- 

As  (A'siiola's  illustrations  arc  arrangctl  diircrcnll\-  in  the  English 
edition  of  his  book,  and  in  the  German  translation  of  it  by  Ludwig 
Stern,  onl\  the  I'nglish  references  are  gi\en  in  the  text,  and  a  con- 
cc)rdanee  of  both  editions  is  printed  at  the  end  of  the  Handbook.  It 
would  ha\e  been  eas\'  to  gi\e  references  to  all  the  other  bt)oks  and 
periodicals  in  which  objects  from  the  (Collection  have  been  repub- 
lished, but  this  would  ha\e  expanded  the  Handbook  undul\',  and 
would  have  quite  changed  its  character  and  utilitw  A  ver\'  few 
objects  of  exceptional  importance  ha\e  alone  been  exempted  from 
this  rule:  the  Inscriptions,  for  example,  are  furnished  with  references 
to  the  (AyrpHs  I )iS(iiptio)!ii»i  Soiiiticiinin!,  to  the  standard  collections 
of  Cireek  dialect-inscriptions,  and  to  the  original  publications  of  the 
dt)cuments  b\'  Gesnola  and  his  collaborator,  Isaac  Hall. 

But  though  man\'  specific  references  ha\e  been  omitted  inten- 
tionall\-,  for  brevil\-  and  clearness,  and  for  the  general  reader's  sake, 
it  must  not  be  supposed  that  the  debt  of  this  Handbook  to  previous 
workers  is  ignored,  nor  that  it  is  limited  to  works  cited  in  the  Bibli- 
ograph\-,  copious  though  that  will  be  seen  to  be.  The  compiler 
here  acknowledges  not  onl\'  the  free  use  which  he  has  made  of 
published  writings,  but  still  more  gralefull\-  the  information,  ad- 
vice, encouragement,  and  criticism  with  which  he  has  been  favoured 
b\'  scholars  in  both  hemispheres,  and  in  particular  b\  the  stafl's  of 
the  great  museums.  \\'here\er  independent  consideration  of  the 
exidence  before  him  has  led  him  to  adopt  \iews  alreadv  expressed 
hv  a  pre\ious  writer,  he  desires  to  make  it  clear  that  he  claims  no 
credit  for  anything  but  accurate  summarx'  and  impartial  judgment. 
It  is  no  more  part  of  his  plan  to  claim  an\'  prioritx'  of  discovery  or 
publication,  than  to  assign  it  to  an\'  one  else.  A  history  of  dis- 
ccneries  is  quite  a  different  thing  from  a  museum  handbook;  and 
after  all,  to  nine  persons  out  of  ten  who  read  of  a  disco\er\',  it  is 
quite  immaterial  who  made  it.  Wherever,  on  the  other  hand,  the 
writer  has  come  to  a  different  conclusion  from  his  predecessors,  he 
has  felt  it  a  more  important  dut\'  to  draw  the  picture  as  he  sees  it 
himself,  than  to  distract  his  readers  by  insisting  thai  Soand-so  was 
wrong. 

Such  occasions  arc  fortunately  rare,  "^'et  in  going  through  so 
large  a  mass  of  material,  it  was  perhaps  inexitablc  that  a  few  fresh 
facts  should  be  noted,  and  a  few  old  data  rexicwed  in  fresh  light. 
It  would  ha\e  been  eas\',  no  doubt,  to  scatter  announcements  of 
these  tinds  among  the  appropriate  Journals;  but  the  new  Handbook 
seemed,  on  the  whole,  to  be  the  proper  place  to  publish  them.      The 

vi 


PREFACE 

chief  novelties  are  these.  Thorough  cleaning  and  close  examination 
have  established  the  authenticity  of  almost  every  object  in  the 
Collection,  and  have  thrown  full  light  on  the  repiairs  and  restora- 
tions which  they  have  undergone  in  the  past.  The  gain  both  in 
scientific  and  in  aesthetic  interest  is  of  course  great,  and  it  is  hoped 
that  bv  careful  arrangement  of  the  material  the  facilities  for  stud\ 
have  been  improved.  In  the  Pottery,  the  classification  of  fabrics 
suggested  in  the  Cyprus  Museum  Cataki^ue,  and  adopted  by  the 
museums  at  Athens  and  Constantinople,  and  in  essentials  b\-  the 
British  Museum,  has  been  revised  so  as  to  express  more  clearl)'  our 
present  knowledge  not  only  of  the  technique  of  each  kind,  but  also 
in  what  order  each  fabric  came  into  use  in  C)prus.  Among  the 
Sculpture,  the  succession  and  development  of  types  has  been  re- 
stated, and  in  particular,  an  earl\-  date  has  been  assigned,  on  grounds 
of  st\le  and  costume,  to  a  group  of  beardless  male  votaries  wearing 
frontlet  and  Cvpriote  belt.  Something  has  been  done  to  clear  up 
the  relation  of  the  dilTerent  t\pes  of  Herakles  to  each  other;  and  a 
tine  sixth  centur)'  statue  is  claimed  as  a  \otive  portrait  of  King 
Amasis  of  Egypt.  Among  the  Inscriptions,  the  remarkable  archive- 
document  i86<S  in  C>\priote  script  has  been  found  to  contain  Minoan 
numerals,  and  a  measure  of  value;  and  other  inscribed  objects  ha\e 
been  assigned  to  dates  earl\'  enough  to  link  the  mature  Cypriote 
script  with  Minoan  and  .Asiatic  protot\pes.  In  dealing  with  En- 
graved Stones,  a  canon  of  st\le  has  been  noted  which  distinguishes 
the  Cypro-M}cenaean  group  of  seal-stones  from  their  mainland 
counterparts.  Among  neglected  fragments  of  Siher  Bowls,  a 
duplicate  of  the  Praenestine  "Journee  de  (^hasse"  has  been  re- 
covered, as  well  as  another  fine  picture  of  C\priote  life  and  custom. 
(Jften,  in  the  difficult  question  of  date,  a  higher  antiquit\-  than  has 
been  customar\-  of  late,  has  been  assigned  where  the  present  state 
of  the  evidence  seemed  to  justif\-  it;  and  the  reason  brietl\-  is  this, 
tliat  the  chroncjlogical  rc\ olution  enforced  hx  .Minoan  disco\er\'  in 
Cjreek  lands  has  been  \er\'  imperfcclh'  realized  hitherto  in  relation 
to  e\enls  in  (^\prus.  This  applies  parlicularl\-  to  the  obscure 
centuries  between  the  twelfth  and  the  eighth,  and  in  some  degree 
also  to  the  se\enth  and  sixth.  The  high  dates  assigned  to  some  of 
the  (iold  Ornaments  are  less  contidenll\  commended.  They  follow 
the  general  principle  of  indicating  with  the  help  of  specimens  whose 
actual  date  ma\-  well  be  later,  the  approximate  [leriod  at  which  this 
or  that  t\pe  (tf  ornament  came  first  mio  xogue.  It  is  onl\  claimed 
for  this  arrangement  tliat  it  is  an  imiiro\emenl,  in  clearness,  on  the 

\  11 


PREFACE 

common  practice  of  calling  all  jewelry  Graeco-Roman  which  is  not 
demonstrably  of  earlier  date  than  300  B.C>. 

This  is,  perhaps,  also  the  place  to  note  losses  and  omissions.  Several 
important  objects,  generally  supposed  to  be  in  the  Cesnola  Col- 
lection, do  not  seem  to  have  even  reached  New  York,  and  arc  now 
known  only  from  the  descriptions  of  Cesnola  himself,  or  of  Colonna- 
Ceccaldi,  who  saw  them  before  the  Collection  left  Cyprus.  1  he 
"Siege-Bowl"  from  Amathus  (Perrot  III,  fig.  547)  was  at  one  time 
in  the  Ruskin  Collection,  and  has  not  been  republished.  Others 
have  been  separated  from  the  Collection  by  various  later  accidents, 
and  some  are  represented  now,  like  3552-3,  by  casts  or  electrotypes. 
Others,  again,  like  the  great  painted  vase  from  Ormidhia  (Perrot  11, 
fig.  523),  and  the  life-size  torso  {Cyprus,  PI.  XI II),  though  preserved 
in  the  Museum  and  certainly  ancient,  are  in  such  poor  condition 
that  they  cannot  conveniently  be  exposed.  1  hey  are  accessible 
to  students,  however,  in  the  same  way  as  other  supplementary  ma- 
terial. 

To  the  Trustees  of  The  Metropolitan  Museum  of  Art,  the  writer 
of  this  Handbook  owes  a  large  debt  of  gratitude,  for  the  privilege 
of  study  so  prolonged  and  intimate.  His  thanks  are  due  no  less  to 
the  Director  of  the  Museum  and  to  members  of  the  Staff  in  every 
degree,  for  assistance  of  many  kinds,  ungrudgingly  given;  for  the 
long  labour  of  cleaning  and  rearranging  the  objects;  and  for  the 
preparation  of  text  and  illustrations  for  the  printer.  Above  all, 
in  the  Assistant  Curator  of  Classical  Antiquities,  Miss  Gisela  M.  A. 
Richter,  he  has  had  a  colleague  whose  knowledge,  judgment,  and 
resourcefulness  have  been  invaluable.  Besides  the  general  super- 
vision of  work  in  New  York,  in  the  intervals  between  the  writer's 
visits  to  the  Museum,  and  the  laborious  verification  of  references 
and  measurements,  Miss  Richter  has  read  the  whole  Handbook  both 
in  manuscript  and  in  proof;  and  has  made  many  valuable  criticisms 
and  suggestions  in  detail.  By  a  fortunate  coincidence,  her  own 
work  on  the  Museum's  collection  of  Bronzes  and  Glass  was  going 
on  side  by  side  with  the  preparation  of  this  Handbook,  and  in 
essentials  the  arrangement  of  the  Glass  is  hers,  while  that  of  the 
Bronzes  owes  much  to  her  intimate  acquaintance  with  the  material. 
Special  obligations  outside  the  Museum  must  not  be  omitted. 
Dr.  A.  V.  W.  Jackson  and  Dr.  R.  Gottheil  of  Columbia  Universit\', 
Dr.  Clay  of  Yale,  Dr.  (Rowley  and  Dr.  Stephen  Langdon  of  Oxford, 
have  given  needful  advice  and  help  with  Oriental  inscriptions;  and 
the  last   readings  of  the  Cypriote   inscriptions   prepared   by    Dr. 


PREFACE 

Richard  Mcistcr,  after  a  memorable  visit  to  New  York,  only  shorth' 
before  his  hmiented  death,  have  been  most  generously  placed  at  the 
disposal  of  the  Museum  by  his  son.  Dr.  Ludwig  iMeister,  of  Leipzig. 
To  scholars  such  as  these  and  to  writers  on  Cypriote  antiquities  too 
numerous  to  name  the  author  acknowledges  his  great  obligation. 


TABLE   OF   CONrENTS 

PAGU 

Map  of  Cyprus Frontispiece 

Preface    v 

Table  of  Contents xi 

Introduction 

Historx'  of  the  Cesnola  Collection xiii 

Ancient  Cyprus  in  History  and  Culture xx\i 

Selected  Bibliography xliii 

The    Collection    of    Pottery 

Preliminar\  note 3 

Numbers    i  -1000 11 

I  HI,     Collection    ok    ScuLinuRE 123 

Numbers  1001-1420 141 

The   (Collection   01     FERRACorTA    Heads 

Numbers  I4si-i4''^7 235 

The    (^(jllectkjn     of    Small    Oujf.cts     in    Stone,    Ala- 
baster,   AND    Pc'll'TIAN    Cil.AZE 

Numbers  1501    lyocj 265 

The   (>)LLF.cri()N    01     Imporifd  X'asf.s   01   (jrI:EK  I'abhics 

Numbers    1701    1772 2S5 

Ihf.   Collection    01     iN'-cTni'iioNs 29() 

Numbers  iSoi    kjS^ 302 

I  HI      CoLLLCnON     nl-       ll-RKACOl   I   \     I'K.LRF.S \H) 

Numbers   2001    25^0 33^ 

xi 


TABM-;    OF    CONTHNIS 

I'm-;   (^.oi.i.ici  ION   oi    Lamps  pacii 

Numbers  ^soi    ^()4i) 365 

I'm.     (.01  ILcniON     01     tioiU    AND    SiLVhR    ORNAMbNTS 

Numbers  ^ooi)  4()S(' 373 

Illi;    ClOLI.l  C.MON    01      I'lNCLR-RlNGS 

Numbers  403 1   42()() 405 

I'hi;      C'.OLll  CriON     of      ClvUlNDbRS     and     OTHHR     ORItNTAL 
ShAL-STONhS 

Numbers  4300-4350 429 

Thi:  CoLLi-xTioN  oi-  Vlsslls  of  Gold,  Silvlr,  and  Gilded 
Bronzh 

Numbers  4551-4399 457 

I'HH    COLLFCTION    OF     BroNZES    AND    ObJFCTS    OF     I  RON 

Numbers  4601-3030 471 

The  CoLLEciioN  of  Glass 

Numbers  305 1    3805 503 

The  Collection   of    Ivory,    Bone,  Shell  and   Lead 

Numbers  59oi-59<S5 517 

Appendix   of   Inscriptions 

Phoenician   Inscriptions 321 

Cypriote  Inscriptions 525 

Inscriptions  in  Oeek  and  Cypriote  characters  together  343 

Greek  Inscriptions 547 

Cuneiform  Inscriptions 335 

Sassanian  Inscriptions 557 

Indices 

Tables  of  Reference 5()i 

General  Index 57() 


XII 


INTRODUCTION 

LUIGI  PALMA  Dl  CESNOLA  was  born  on  July  29,  1832,  near 
Turin,  in  North  Italy,  and  was  educated  as  a  soldier.  He 
served  in  the  Austrian  War  of  1848,  and  in  theCrimea;  but 
in  i860  he  left  Italy  for  New  York,  where  he  founded  a 
military  school  for  officers,  and  in  due  course  took  part  in  the  Civil 
War  as  Colonel  of  the  Fourth  Cavalry  Regiment  of  New  York.  On 
June  17,  1863,  he  was  wounded  and  captured  at  Aldie,  in  Virginia, 
and  was  detained  in  the  Libb}'  Prison.  Liberated  early  in  1864,  he 
served  again  as  Brigadier,  and  at  the  close  of  the  war  left  the  service, 
with  the  rank  of  Brigadier-General,  to  represent  the  United  States 
as  Consul  in  C\prus. 

Cesnola  landed  in  Cvprus  on  Christmas  Day,  1865.  The  duties 
of  his  Consulate  were  not  heav>',  and  became  much  lighter  when 
the  usual  trials  of  strength  had  satisfied  the  Turks  that  he  was 
not  to  be  trifled  with.  He  had,  therefore,  ample  leisure  to  devote 
himself  to  other  interests. 

THE    SKARCH    FOR    ANTIQUITIHS    IN    CYPRUS 

It  happened  that  prccisel\-  in  those  \ears  the  antiquities  of  the 
island  were  beginning  to  attract  more  than  local  attention.  The 
(^\priote  peasantry  have  ever  treated  the  relics  of  their  ancestors 
with  a  le\itv  and  cupidit\'  rare  even  in  the  l.e\ant.  Tomb- 
rcjbbing  was,  and  is,  a  nightl}'  amusement,  and  Huropean  residents 
have  seldom  seen  reas(Ki  to  disc(H)rage  this  traffic,  or  forego  their 
share  of  the  spoil,  (^'snola's  British  colleague  from  1863  to  1868, 
.Mr.  r.  B.  Sandwilh,  was  an  ardent  collector,  and  published,  rather 
later,  a  paper  of  fundamental  imjiortance  on  the  ancient  sl\les 
of  pcjttery;  and  .Sandwilh's  successor,  .Mr.  K.  II.  I.ang,  an  old 
resident  of  l.arnaca  and  .Manager  of  llu'  Ottoman  Bank  there, 
enriched  the  museums  (»f  1. on  Ion   and   Olasgow   h)-  careful  exca- 


IN  1  ROni CI  ION 

vatidns  in  saiKtuarii'S  and  N mibs  at  liialion,  anJ  laid  the  foundations 
of  our  knouK'di;c  of  (^xpriolc  >Lulpuiri.'.  Lang's  researches  were 
not  pubhshed  until  1S7S,  but  liis  experience  and  adxiee  are  acknow- 
ledged more  than  once  b\  ( A'snola.  The  Irench  (Consul,  V.  Colonna- 
(^eccaldi.  was  also  making  e.\ca\ations  from  iS()6  to  1869,  on  a 
smaller  scale  than  i.ang,  and  his  brother,  Ci.  (>)lonna-Ceccaldi, 
[Hiblished  later  a  \aliiable  essa\'  on  the  monuments  of  C\prus. 
Taking  all  this  into  account,  it  would  in  fact  ha\e  been  strange 
if  the  new  American  Consul  had  not  turned  his  hand  to  the  fashion- 
able amusement  of  the  daw 

into  these  anticjuarian  pursuits,  (A'snola  threw  himself  with 
characteristic  enthusiasm.  He  seems  to  ha\  e  securi'd  in  an  unusual 
degree  the  good  will  of  the  peasantr\'  and  nati\e  e.\ca\ators,  and  to 
have  had  prompt  information  of  chance  finds  all  o\er  the  island; 
and  in  ele\en  bus\'  \ears  he  amassed  what  is  still  the  largest,  and 
in  man\'  respects  the  richest  collection  of  C^\priote  anticiuities  in 
the  world.  Its  \alue  would  ha\e  been  e\"en  greater,  had  the  con- 
ditions of  disco\er\'  been  more  faxourable  to  scientific  record. 
But  Cesnola  had  no  previous  experience  of  exca\ation  nor  an\' 
sx'stematic  training  in  the  new  science  of  archaeologw  He  worked 
\er\'  rapidl\'  and  on  a  large  scale;  he  also  allowed  digging  to  be  done 
on  his  behalf  without  that  personal  super\ision  which  alone  inspires 
confidence  in  the  record  of  results;  and  such  notes  as  he  made  on 
the  spot  were  brief  and  imperfect. 

.At  the  same  time  it  must  in  justice  be  recalled  that  in  1865 
archaeological  research  was  in  its  int'anc\'.  I'he  first  scientific 
exca\'ation  on  the  stratified  sites  of  North  ltal\'  onh'  began  in  1864; 
the  first  serious  stud\-  of  ancient  tombs,  at  lalxsos  and  Kamiros 
in  Rhodes,  b\-  Salzmann  and  liiliotti,  onl\'  in  i8()();  Schliemann's 
first  campaign  on  the  site  of  Homeric  Irow  not  until  1872.  Nearer 
at  hand,  Kenan's  Report  on  his  famous  .Mission  to  Phoenicia  had 
begun  to  appear  in  186^;  but  it  was  almost  wholly  concerned  with 
surface  exploration  and  the  stud\'  of  standing  monuments.  Into 
the  archaeological  chaos  created  b\'  the  (^\priote  tomb-robbers, 
some  scientific  order  had  alread\'  been  brought  hv  Heu/e\  's  cata- 
logue of  the  ancient  terracottas  of  the  Louxre,  man\'  of  which  had 
been  found  in  (^\prus.  I  his  great  work  laitl  the  foundation  of 
our  knowledge  of  the  histor\',  uses,  and  st\les  of  this  important 
group  of  objects.  Its  first  part  was  published  in  i8()o;  but  the 
very  fact  that  it  was  a  museum  catalogue,  not  a  record  of  field 
work,  drew  attention   rather  to  the  opportunities  for  a  collector 

xiv 


HISTORY    OF    THE    CHSNOLA    COLLECTION 

than  to  the  responsibih'ties  of  an  expkjrer  and  excavator.  Sand- 
with's  and  Lang's  papers,  already  mentioned,  were  only  brought 
to  pubh'cation  at  a  much  later  date,  mainly  through  the  interest 
which  Cesnola's  own  work  had  aroused.  Fngel's  Kypros,  published 
in  1841,  had  of  course  dealt  mainl\'  with  lilerarx'  e\idence,  not  with 
antiquities.  L'nger  and  Kotsch\'s  geographical  monograph  on 
C\prus  did  not  appear  till  1865,  and  its  historical  supplement 
not  till  1866,  though  Kotsch\''s  tra\-els  in  the  island  belong  to  the 
later  fifties;  and  the  contemporary  archaeological  work  of  the  two 
French  scholars,  the  Comte  dc  Mas  Latrie,  and  the  Marquis  Mel- 
chior  de  Vogue,  had  been  mainly  devoted,  like  that  of  Renan  in 
Phoenicia,  to  buildings  and  inscriptions  which  were  already  above 
ground.  De  X'ogue  had  indeed  reported  a  few  small  excavations 
in  1862;  but  his  first  paper  on  the  inscriptions,  by  which  he  is  best 
remembered,  was  not  published  until  i8()6;  and  the  decipherment 
of  the  native  s\stem  of  writing,  as  is  well  known,  was  not  achieved 
till  1872.  How  little  could  be  made  b\-  contemporary  experts, 
even  of  the  completed  work  of  Cesnola,  is  shown  by  the  appendix, 
On  the  Pottery  of  Cyprus,  contributed  by  the  late  Dr.  A.  S. 
Murray,  of  the  British  Museum,  to  Cesnola's  Cyprus,  which  was 
published  in  1877.  The  sequence  of  st\les,  rightl}'  analxsed  b\- 
Sandwith  in  that  \ear,  is  there  still  unrecognized.  In  spite  of 
Schliemann's  work  at  .M\cenae  itself,  completed  in  1876,  the  fine 
Mycenaean  chariot-vases  (Nos.  436-7)  were  thought  to  "resemble 
Greek  vases  of  the  third  stage."  Sir  (diaries  Newton's  identification 
of  this  fabric  with  that  of  the  \ases  from  lal>sos,  and  his  proof 
that  they  were  all  alike  pre-Hellenic,  were  dcfinitel\-  rejected. 
It  was  expressly  contended,  even,  that  in  this  enchanted  island 
almost  all  styles  of  potter}-  were  in  use  concurrentl\'  at  almost  all 
periods.  This  last  belief,  indeed,  was  cjin'te  widel}'  held,  and  did 
not  give  way  finall\-,  before  fresh  e\idence,  till  after  1890. 

In  1865,  therefore,  the  archaeological  position  was  this.  Pre- 
liminar\'  explorations  had  begun;  the  attention  of  scholars  was 
artjused;  and  a  start  was  being  made  with  interpretation.  The 
moment  certainl\'  was  near  when  (^xjirus  must  be  won  for  archae- 
olog\-,  and  "digging"  be  transformed  from  a  mischievous  pastime 
into  a  weapon  of  historical  science.  With  (Cesnola's  opportunities, 
an  archaeological  genius  had  the  ch;nice  to  anticipate  modern 
work  by  a  generation;  it  was  a  \m\\  but  no  fault  of  (k'snola  — 
that  the  United  States  Consul  in  (]\'prus  was  not  an  archaeological 
genius. 

XV 


INTRODUCTION 

It  is  easier  to  excuse  neglect  of  scientific  precautions  than  exag- 
geration or  misstatement.  In  the  few  instances  where  the  tombs 
which  Cesnohi  opened  can  be  identified,  as  at  Amathus,  his  measure- 
ments of  their  depth  are  unsupported  by  extant  remains;  more  com- 
monl\'  still  the\'  are  out  of  accord  with  other  exca\ators'  experience 
(see,  howe\er,  Perrot-Chipiez,  Hisioirc  cle  VArt,  III,  219,  note); 
and  the  famous  "Treasure  of  Curium,"  circumstantiall\'  described 
in  Chapter  XI  of  his  book,  is  a  mvstery  which  cannot  be  cleared 
up.  All  attempts  to  locate  the  treasure  chambers  of  which  Cesnola 
gives  a  plan  in  his  book  have  failed,  and  the  occurrence  of  objects 
of  so  man\-  different  periods  in  the  "  Treasure"  itself  is  ver>'  difficult 
to  coordinate  with  our  other  knowledge  of  ancient  C\prus.  The 
majorit\'  of  these  objects  are  precisel\-  like  the  rich  tomb-jewelr_\' 
of  Curium  and  its  neighbourhood;  a  few  are  of  kinds  and  st>les 
which  are  most  unlikely  to  ha\'e  been  brought  together  at  Curium 
in  antiquity.  Though  Cesnola  certainl\-  kept  some  record  of  his 
work,  and  though  the  story  of  his  excavation  was  published  soon 
enough  to  be  challenged,  if  it  was  untrue,  b\'  contemporaries  and 
neighbours,  and  to  be  acceptable  in  main  outline  as  evidence  of 
its  extent  and  \-ariet\',  \ct  his  Collection  was  left  at  his  death  un- 
accompanied by  first-hand  documents;  nor  has  it  been  possible 
as  \'et  to  redisco\'er  note-books  or  diaries  from  which  to  reconstruct 
its  histor\'.  E\en  the  localities  to  which  indixidual  objects  are 
ascribed,  in  the  Handbooks  and  .Atlas  published  under  his  super- 
vision, are  not  alwa\'s  in  accord  with  other  experience  of  the  geo- 
graphical distribution  of  such  objects  in  C\-prus. 

For  scientific  purposes,  therefore,  the  Cesnola  (Collection  must 
be  regarded  as  a  magnificent  series  of  isolated  objects,  almost  all 
of  demonstrabl\'  C>'priote  st\ie.  fhex-  are  inxaluable  to  till  out 
the  scheme  of  C\priote  archaeolog\',  which  has  been  established 
b\'  other  men's  work  in  the  generation  which  followed;  but  the}' 
do  not  themselves  suppl>'  the  e\'idence  on  which  such  a  scheme  could 
be  designed. 

HOW  THh  CLSNOLA  COLLIXTION   CAME  TO  Ni:W   ">ORK 

Some  of  the  earlier  finds,  from  excaxations  made  in  i'%8,  were 
sold  b_v  auction  in  Paris  in  iSjo.  The  printed  catalogue  of  tliem 
is  instructive  reading  now.  Some  were  acc]uired  b_\'  the  I,ou\re 
.Museum.  But  about  this  time,  and  probabl\-  on  the  adxice  of 
European  experts,  Cesnola  became  conxinced  of  the  ad\antage  of 
concentrating  in  a  single  colKx'ticjn  materials  so  copious  a^  he  had 

xvi 


HISTORY    OF    THE   CESNOLA    COLLECTION 

either  already  at  hand,  or  in  immediate  prospect.  What  he  found 
now,  he  accumulated  at  his  house  in  Larnaca;  and  a  first  attempt 
to  describe  his  museum  systematically  was  made  there  in  1869 
by  a  German  traveller,  Dr.  C.  Friedrichs.  But  it  was  the  crowning 
discovery  of  an  untouched  sanctuary  crowded  with  statues,  near  the 
village  of  Athienu,  which  clinched  Cesnola's  decision,  while  it 
spread  abroad  his  fame.  It  was  clearly  out  of  the  question,  under 
Turkish  rule,  to  leave  these  important,  large,  and  numerous  objects 
in  Cyprus,  and  the  question  became  urgent,  what  was  to  be  done 
with  them.  Informal  negotiations  with  the  Musee  Napoleon  III 
were  terminated  abruptly  by  the  Franco-Prussian  War:  but  in  June, 
1870,  the  Russian  archaeologist.  Dr.  Johannes  Doell,  was  sent  from 
St.  Petersburg  to  report  on  the  Collection,  with  a  view  to  its  transfer 
to  the  Hermitage  Museum.  The  interest  taken  b}-  St.  Petersburg 
in  Cesnola's  work  is  partly  explained  if  it  be  remembered  that  he 
acted  as  Consul  for  Russia,  as  well  as  for  the  United  States.  Though 
nothing  came  of  the  Russian  proposal,  Doell's  report,  presented 
to  the  Imperial  Academy  of  Sciences  in  December,  1872,  was  the 
first  scientific  criticism  of  the  Collection.  This  report  discusses 
7,919  items;  and  its  careful  illustrations  show  some  of  the  chief 
objects  as  they  appeared  within  a  few  months  of  their  discovery, 
and  before  they  had  undergone  the  repairs  which  caused  contro- 
versy later. 

Very  soon  after  Doell's  visit,  Cesnola  took  leave  of  absence,  and 
carried  the  whole  Collection  with  him  —  about  35,000  objects  in 
all.  How  his  two-fold  Consulate  enabled  him  to  evade  Turkish 
attempts  to  prevent  their  export  is  an  amusing  episode  in  his  book 
(p.  174).  One  consignment  was  lost  at  sea  near  Be}Tout,  but  the 
remainder  reached  London,  to  be  exhibited  and  photographed. 
A  few  (jbjects  were  acquired  about  this  time  b)'  the  British  .Museum, 
the  South  Kensington  Museum,  the  Fitzwilliam  Museum  at 
Cambridge,  the  Louvre,  the  .Museums  of  Athens,  Berlin,  Boston, 
Constantinople,  Monaco,  Perugia,  and  St.  Germain,  by  General 
Pitt-Rivers  (whose  collection  is  n(nv  at  Oxford),  and  perhaps  by  other 
museums  and  collectors.  1  he  small  series  in  the  Furin  .Museum 
seems  to  have  been  presented  earlier;  an  ollVring  of  first-fruits 
to  his  nati\e  place.  The  (collection  excited  general  interest, 
all  the  greater  because  news  was  now  coming  home  about 
Schliemann's  first  exca\ations  in  "Homeric  Tro\."  No  formal 
n;irralive  of  discoverv  was  torthcoming  as  \el,  but  thrre  was 
S(;me    discussion    in    the    Press,  and  an   album  of  selected  ph(jto- 

xvii 


INTRODUCTION 

graphs  was  published   in    1S73,  with   an   introduction  b\-  .Mr.  (now 
Sir  Sidne\)  Col\in. 

But  while  European  museums  were  criticizing,  America  acted. 
Thenewl\-l"ounded  .Metropolitan  .Museum  of  Art  acquired  the  whole 
Collection  for  New  \'ork,  while  it  was  still  on  \iew  in  London,  and 
Cesnola  was  granted  six  months'  lea\e  of  absence,  dating  from 
Januar\-,  1873,  to  install  it  in  fresh  quarters  at  12S  West  14th 
Street.  This  done,  he  returned  to  his  post  in  C>prus,  with  an  under- 
standing that  he  was  to  make  further  researches  on  behalf  of  the 
.Metropolitan  .Museum.  It  was  during  these  supplementar\'  exca- 
\ations  that  the  objects  composing  the  "Treasure  of  Curium" 
were  obtained. 

Cesnola  did  not  lea\e  C>prus  tinall\-  till  1H76,  but  after  1873 
he  found  nothing  comparable  with  his  chief  disco\er\,  the  sanctuary 
of  .\thienu;  and  the  operations  of  his  brother,  .Major  .Alexander  P. 
di  Cesnola,  which  continued  till  1878,  were  notable  rather  for  the 
quantit)'  of  their  x'ield  than  for  artistic  or  scientific  interest.  This 
"  Lawrence-Cesnola"  Collection  was  likewise  exhibited  in  London 
for  a  while,  and  photographed,  but  much  of  it  was  dispersed  b\" 
auction  in  1881 . 

Cesnola  had  e\er\-  inducement  to  complete  his  career  in  the 
Consular  Ser\ice;  but  in  Cx'prus  he  had  "met  his  fate";  and  in 
fact  no  one  else  was  either  competent  or  available  to  supervise 
the  arrangement  and  publication  of  his  treasures:  so  he  accepted, 
in  1877,  first  a  place  on  the  Board  of  the  .Metropolitan  .Museum, 
and  then  in  succession  the  posts  of  Secretar\-  and  Director.  The 
transference  of  the  .Museum  to  its  present  site  in  Central  Park 
followed  soon  after;  and  Cesnola  remained  in  office  there  until  his 
death  on  No\ember  21,  1904.  .\n  extract  from  the  official  minute 
of  the  Board  of  Directors  on  that  occasion  expresses,  with  evident 
feeling,  the  estimate  which  was  formed  of  the  man,  b\-  men  who 
had  worked  with  him  intimatelw  "His  tidelitw  his  minute 
attention  to  his  duties,  and  his  capacitx'  for  work  during  his  long 
career  of  service  merit  great  praise.  Other  distinctions  and  other 
interests  in  life,  if  not  forgotten,  were  permanentl}-  laid  aside,  and 
the  welfare  and  grf)wth  of  the  .Museum  became  his  single  interest 
and  absorbing  occupation.  His  military  training,  when  joined  t.) 
his  public  experience,  ga\'e  him  distinguished  powers  of  administra- 
tion, and,  while  critics  are  never  wanting,  his  capacity-  to  administer 
the  .Museum  and  adequatelx'  to  exhibit  its  contents  has  not  been 
questioned. 

xviii 


HISTORY    OF    THE    CESNOLA    COLLECTION 

"Whoever  shall  become  his  successor,  and  with  whatever  gifts 
he  shall  be  endowed,  the  martial,  independent  figure  of  General 
di  Cesnola  —  somewhat  restive  in  opposition  and  somewhat  im- 
petuous in  speech  and  action,  but  at  all  times  devoted  to  his  duty 
and  winning  the  affection  of  his  subordinates  and  associates  —  will 
long  remain  a  kindl\-  and  grateful  memorw" 

PUBLICATIONS 

Since  the  Cesnola  Collection  reached  a  permanent  home  in  New 
York,  onl}'  two  incidents  in  its  history  need  be  recorded  here. 
The  first  concerns  publication.  This,  with  so  large  a  mass  of  mater- 
ial, was  naturally  a  matter  of  time;  it  was  none  the  less  urgent 
because  the  Collection  lay  so  far  from  the  majority  of  students, 
as  XewYork  still  was  then,  (x^snola's  own  narrative  of  exploration, 
Cyprus,  its  Ancient  Cities,  Tombs,  and  Temples,  appeared  in  1877; 
a  revised  American  edition  with  some  additional  matter  in  1878; 
and  a  German  translation  bv  Dr.  Ludwig  Stern  in  1879.  In  1880 
came  a  little  guide  entitled  Sculptures  of  the  Cesnola  Collection 
(Handbook  No.  3),  brightly  written  b\'  Mr.  .A.  Duncan  Sa\age, 
and  more  instructive  to  the  student  than  the  later  inventor}',  The 
Stone  Sculptures,  b\'  Dr.  Isaac  H.  Hall,  which  superseded  it  in 
1895,  or  the  unsigned  in\entor\-  published  in  1904.  A  similar 
inventory  of  the  Terracottas  and  Pottery  (Handbook  No.  2), 
also  b)'  Dr.  Hall,  appeared  in  1895.  These  handbooks  were  for 
popular  use  in  the  .Museum;  for  students  abroad,  a  full  Atlas  oj 
the  Cesnola  Collection  was  planned,  with  brief  descriptions,  and 
large  plates,  photographic  or  coloured.  The  first  volume,  contain- 
ing the  Sculptures,  was  published  in  1884;  the  second,  on  \'ases 
and  Terracottas,  in  1886;  and  the  third,  on  the  Jewelr\-,  Bronzes, 
Inscriptions,  Glass,  and  other  objects,  in  1903.  Thf)ugh  not  in 
all  points  adequate,  these  \olumes  ha\e  ser\ed  well  to  make 
students  familiar  with  the  Cesnola  (Collection.  A  few  of  the  objects 
\\hich  are  figured  in  the  .Atlas  are,  however,  no  longer  in  the  .Mu- 
seum; a  larger  number,  which  are  figured  in  Cesnola's  own  book, 
seem  not  to  have  reached  New  York.  Some  of  these  have  been 
traced  to  other  museums;  others  are  lost. 

THI-,    r-I-.LARDHNT- CHSN()L.\    CONTRO\'HRSY 

The  other  incident,  happil\'  long  closed,  is  the  attack  made  in 
i8(So-2  on  the  authenticit\'  of  parts  of  the  collection.  It  began 
with  an  article  in  the  Art  Amateur  of  .August,  1S80,  h\  Mr.  Gaston 


IN IROOUCTION 

I..  I-\'iiardcnr,  a  \\\'ll-kin)\\  ii  art-dcaliT,  to  the  clfect  that  some  of 
ihc  sculptures  had  been  \vron^l\-  restored,  that  statues  had  been 
built  up  out  of  ineoherent  parts,  and  that  some  of  the  bronzes  had 
been  artiticiall\-  patinaled.  Similar  charges  were  repeated  in  1882 
bv  .Mr.  Clarence  Cj)ok,  in  a  pamphlet,  Tra)isJormaiions  and  Mi- 
siraliom  of  Certain  Statua  in  tin-  Cesnola  Collection,  and  were 
wideh  circulated  b\- certain  newspapers.  In  retrospect,  the  whole 
atl'air  has  its  humorous  side,  and  the  .Museum  had  no  dilTiculty  in 
disposing  of  the  specific  charges  against  indi\idual  objects;  but 
an  action  for  libel  was  brought  by  .Mr.  Feuardent  against  Cesnola 
personali\-,  and  tried  at  great  length;  and  thcnigh  it  ended  favourabl\- 
for  the  .Museum,  an  impression  had  been  created,  which  was  not 
eas\'  to  dispel,  that  the  C>)llection  had  been  damaged  by  imprudent 
and  needless  repairs.' 

To  deal  fairl\-  with  well-meant,  though  misdirected  criticism, 
just  as  to  judge  rightl\'  (^esnola's  own  proceedings,  it  is  essential 
to  bear  in  mind  opinions  that  were  current,  at  a  time  when  the 
study  of  classical  art  had  onl}-  \er\'  recentl\'  attained  some  measure 
of  historical  perspecti\e  and  a  few  principles  of  criticism,  and  when 
great  satisfaction  and  confidence  were  felt  in  applxing  these.  It 
must  be  remembered,  first,  that  the  arts  and  industries  of  C\prus, 
and  particularl\-  its  sculpture  and  \  ase-painting,  ha\e  at  all  earl}' 
periods  a  strongl\'-marked  character  of  their  own,  \et  show  from 
time  to  time  a  peculiar  sensitiveness  to  foreign  influence,  and  often 
to  several  such  influences  at  once.  The  result  is  a  mi.xed  st\ie, 
which,  interpreted  in  feeble  workmanship,  easil\'  gi\es  at  first 
sight  a  false  impression  of  modernitw  I'urther,  the  use  of  soft 
limestone,  instead  of  marble,  for  sculpture,  and  still  more  the 
technique  of  limestone  car\ing,  were  unfamiliar  to  classical  arch- 
aeologN'  until  the  discoveries  at  Olxmpia  and  on  the  .Athenian 
Akropolis.  In  the  same  wa}',  the  practice  of  enhancing  sculpture 
with  colour  was  long  supposed  —  in  tleffance  of  testimon\'  and  in 
default  of  examples  —  to  be  abhorrent  to  ancient  art.  The  \aga- 
ries,  and  some  of  the  principles,  of  the  (Cypriote  \  ase-painters 
estranged  orthodox  critics  even  more.  Add  to  this,  that  until 
photographic  illustrations  became  usual,  st\les  that  were  pro\incial 
and  unfamiliar  suffered  far  more  than  classic  art  from  defective 
reproductions;    and    also    that    after    the    (Cesnola    Cxjllection    was 

'Other  outspoken  opinions  about  the  (>)llection  were  pul^h'shcd  rather 
later  b\-  Dr.  .M;ix  ( )hnefalsch-l<ichter.  after  in\estigalions  on  the  spot,  at 
C^urium  and  .Athienu.    (.\  <  u  York  Hcrdld,  May  lOth;  Sii)i,  .May  2  5rd,   iHyj.j 


HISTORY    OF    THE    CESNOLA   COLLECTION 

transferred  to  New  York,  the  objects  themselves  were  not  very 
accessible.  Add,  further,  that  the  new  generation  of  trained 
archaeologists  was  more  concerned  —  and  rightly  —  in  recording 
the  circumstances  of  discovery,  in  fresh  excavations  under  rigid 
control,  than  in  criticizing  the  results  of  what  they  might  well 
regard  as  premature  and  hastv  work;  and  that,  in  so  far  as  they 
stayed  to  criticize  the  discoverer's  record  at  all,  they  were  more 
repelled  by  its  omissions,  inaccuracies,  and  exaggerations,  than 
attracted  by  the  positive  value  of  what  was  found.  A  few  leaders. 
Sir  Austin  Layard,  Sir  Charles  Newton,  Sir  Augustus  Franks, 
Sir  R.  Hamilton  Lang  —  to  name  only  British  contemporaries 
—  with  wider  sympathy  inspired  by  personal  experience  of  pioneer 
work,  wrote  and  acted  as  if  they  appreciated  what  Cesnola  had 
done;  but  it  is  not  wonderful  that,  under  all  the  circumstances,  his 
Collection  was  put  somewhat  on  one  side. 

HOW    TO    USE    THH    CtSNOLA    COLLECTION 

Now,  controvers}'  has  died,  and  other  explorers,  better  trained, 
equipped,  and  directed,  have  done  much  to  fill  the  gaps  in  our 
information.  It  begins  to  be  possible  to  estimate  where  we  stand. 
In  archaeology,  as  in  business,  we  have  to  "cut  our  Icjsses"  and 
make  the  best  use  we  can  of  the  knowledge  we  ha\e;  and  the 
object  of  this  Handbook  is  to  contribute  such  commentar\',  based 
on  sure  comparisons,  as  will  interpret  this  section  of  the  Metro- 
politan Museum  to  the  \'isitor,  and  in  some  degree  also  to  the  stu- 
dent. Man)'  objects  in  the  Cesnola  Collection  are  still  hard  to 
explain  fullv;  a  few,  for  want  of  exact  record  at  the  first,  have  lost 
the  meaning  the)-  had,  perhaps  permanenth';  but  the  \asl  majority 
can  now  be  fitted  into  a  consistent  scheme  of  knowledge,  so  as  to 
illustrate  other  ccjllections,  and  suggest  jiroblems  for  future  research. 

The  advances  which  ha\e  been  made  in  our  knowledge  of  Cyprus 
since  the  Ojllection  was  formed,  permit  a  more  exact  estimate  of 
the  arts  and  industries  of  ihe  island,  and  disclose  the  main  lines 
of  their  history.  A  summar)'  of  tliis  histor)'  follows,  on  p.  xxvi. 
Through  the  same  increase  of  kn()\\iedge,  it  is  now  possible,  also, 
to  assign  to  Ujcal  schools  of  sculiHure  and  painting  a  nimiber  of 
objects  whose  unfamiliaril v,  at  the  time  of  their  tiiscover)',  raised 
reasonable  doubts  as  to  llieir  age  aiul  aulhent icit)'.  In  fine  ex- 
amjiles  of  these  local  schools,  and  particularly  in  works  influenced 
by  tln'  archaic  art  of  Creece  and  the  Near  h.ast,  the  Cesnola  (j)l- 
lection  is  exceptionall)'  rich;  and  siibseciuenl  excavations  b)'  trained 

xxi 


INTRODLCTION 

nbservors  ser\e  to  intcrpii-i  tlu-so  niastorpicLCS,  and  to  suppk'nient 
tho  too  slight  indications  ot'  their  place  of  disco\eiy,  and  of  the  ob- 
jects found  with  them. 

On  the  other  liand,  more  accurate  knowledge  of  (]\pri()te  anti- 
quities incvitabh'  shows  that  certain  other  classes  of  objects  in  the 
(Collection  are  not  of  exceptional  interest,  either  as  works  of  art  or 
as  e\idence  of  the  progress  of  nati\e  industries,  it  is,  therefore, 
possible,  and  permissible,  to  select  those  parts  of  the  whole  Collection 
which  gi\e  it  value  and  interest,  and  to  exhibit  these  in  a  clearer 
and  nu)re  s\slematic  way.  it  has  been  possible  also  without  tlam- 
age  to  the  (a)llection  as  a  whole,  and  with  great  benefit  to  the  stu- 
dents of  special  aspects  of  art  and  induslr\',  to  separate  from  the 
main  t\pe-series,  and  install  in  a  coinenient  students'  room,  a 
large  mass  of  purel\'  archaeological  material  which  could  ne\er 
be  expected  to  appeal  to  the  general  public,  and  led  onl\'  to  con- 
fusion and  fatigue. 

On  these  general  principles,  a  s\slemalic  survey  of  the  whole 
Collection  was  undertaken  on  behalf  >.*{  the  .Museum  in  the  spring 
of  ic)0().  l"he  results,  so  lar  as  the\'  are  of  general  interest,  arc 
the  occasion  of  this  Handbook.  The  methods  b\'  which  it  has  been 
sought  to  gi\'e  etTect  to  them,  demand  brief  record  here. 


THH    I'RhSl.Nr   ARR.ANOli.MHN  r   OF    IHI:   COl.l-FXTK  )N 

The  lapse  of  time  since  the  objects  were  prepared  for  exhibition 
under  the  personal  direction  of  their  disco\erer,  and,  no  less,  tho 
attention  which  is  now  rightl\  gi\en  to  c]uestions  of  surface-finish, 
tooling,  and  other  details  of  ancient  craftsmanship,  justified  and 
indeed  demanded  a  thorough  cleansing  of  all  the  more  important 
objects.  The  general  appearance  of  the  ("ollection  has  been  but 
little  atf'ected  by  this  process;  but  attention  mav  l"airl\'  be  called 
to  the  principal  points  of  improvement.  The  Terracottas,  Bronzes, 
and  Gold  and  Siher  Ornaments  were  in  \ery  good  order:  it  was 
chietl\'  among  the  Sculpture  and  the  \  ases  that  care  was  required. 
In  the  first  place,  a  good  deal  of  (>\priole  earth  and  lime-crust 
which  adhered  to  statues  and  \ases  has  been  removed,  where  this 
could  be  done  without  damage  to  the  ancient  work.  Its  retention 
in  the  first  instance  was  an  excess  of  precaution  not  common  among 
collectors:  with  belter  methods  than  we  have  e\en  now,  still 
further  improvements  would  be  permissible. 

Further,  it  was  alreadx'  known,  that  (in  accordance  with  the 
current  practice  of  museums  in  the  \ears  when  the  Collection  was 

xxii 


NOTE 

The  Cesnola  Collection  of  Sculpture  and  Potter}-  has  been 
moved  from  its  old  quarters  in  B  41-42  to  K  5.  The  old 
arrangement  has  been  kept,  with  some  necessar}'  adjustments. 
Thus,  some  of  the  larger  vases  in  former  Floor  Cases  IV-VI 
and  VIII  have  been  mounted  on  tops  of  cases;  some  of  the 
lions  in  former  Wall  Cases  54-57  have  been  fastened  on  the 
walls;  and  the  larger  statues  have  been  distributed  where 
space  permitted.  A  few  pieces  of  minor  importance  have  been 
withdrawn,  and  some  of  the  imported  vases  have  been  placed 
in  Wing  J  with  related  wares.  But  the  numbers  on  the  objects 
are  unchanged  and  correspond  to  those  in  this  handbook. 

The  Cesnola  Collection  of  Jewelry,  formerly  in  C  32,  has 
been  moved  to  the  Classical  Jewelry  Room  (adjoining  the  new 
Cesnola  Gallery),  where  it  occupies  Cases  D-J.  The  bronzes^ 
terracottas,  glass,  and  inscriptions  remain  in  D  14. 


HISTORY    OF    THE    CESNOLA    COLLECTION 

being  installed)  cracks,  breakages,  and  scars  had  been  repaired 
with  plaster,  and  "made  good"  with  a  very  thin  coating  of  stone- 
wash;  and  this  stone-wash  had  also  been  used  to  cover  weather 
stains  even  on  unbroken  surfaces.  Fortunatel)',  Mr.  Charles 
Balliard,  who  was  actively  concerned  in  the  original  installation, 
was  still  at  hand  in  1909  to  describe  his  own  procedure.  Before 
the  cleansing  was  begun,  or  e\en  projected,  the  Museum  obtained 
from  him  a  full  statement  of  his  recollection  of  the  state  in  which 
the  sculptures  were  when  he  first  took  them  in  hand,  and  of  what 
he  did  to  them.  The  subsequent  removal  of  the  stone-wash  con- 
firmed the  accuracv  of  Mr.  Halliard's  memorv,  and  there  is  little 
doubt  that  the  Museum  is  in  possession  of  all  the  material  data 
for  a  history  of  the  Collection  from  the  time  of  its  acquisition  by 
the  Museum.  It  should  be  added  that  on  some  of  the  statues 
the  stone-wash  had  begun  to  go  to  dust,  and  encjugh  of  the  ancient 
surfaces  was  already  revealed  to  show  that  they  were  in  good  con- 
dition, and  might  safely  be  liberated  altogether. 

The  necessar\'  work  on  that  part  of  the  Collection  which  had  been 
selected  for  exhibition  was  done,  with  the  most  careful  precautions, 
by  the  .Museum's  own  people,  in  the  summer  of  1909:  so  that  all 
details  of  the  ancient  work  can   now  be  seen  and  studied  freely. 

The  gain  to  the  Collection,  both  artistic  and  scientific,  has  been 
great.  The  delicate  cream-colour  of  the  soft  Cypriote  limestone 
has  been  reccnered  throughout,  and  it  is  possible  that  the  slight 
variations  of  its  texture  which  are  now  perceptible  may  eventually 
be  traced  to  local  quarr\-beds.  Cracks  and  breakages  are  of 
course  rather  more  apparent  than  the\'  were,  but  the  methods  and 
technique  of  the  ancient  sculptors  and  stone-masons  have  been 
revealed  in  surprising  detail.  .Aboxe  all,  copious  traces  of  colour, 
noted  indeed  b\'  the  discoverer,  but  unappreciated  by  earlier  critics, 
and  long  concealed  b\'  the  stone-wash  alread\-  mentioned,  have 
been  restored  to  \iew,  sometimes  still  well  enough  preserved  to 
suggest  their  original  vividness. 

The  closiT  stud  V  which  is  possible  now  thai  the  sculptures  a  re  clean 
shows  that  man\-  of  the  statues  ha\e  undergone  minor  repairs; 
that  these  repairs  were  made  at  more  than  one  period;  and  that 
most  of  them  are  such  as  it  woukl  be  an  obvious  duty  to  undertake 
now  if  the  Collection  were  newlv  accjuired.  .Many  figures,  indeed, 
could  be  better  a[ipreciated,  if  thev  were  treated  more  thoroughly 
still,  and  in  the  same  way.  (Certainly  a  few  mistakes  were 
made,  as  was  only  to  be  I'xpected   in   a  \crv  large  collection  of  un- 

X  X  i  i  i 


IN  I  KODUtri  ION 

familiar  typics  and  styles,  bul  none  of  them  all'ect  any  important 
speL"imen. 

Similar  treatment,  applied  to  selected  vases,  confirms  the  authen- 
ticit\-  of  almost  all  the  painted  decoration.  The  few  "restorations" 
are  for  the  most  part  obvious,  and  seldom  exceed  the  limits  ob- 
served in  museums  a  generation  ago.  The  surprising  variations 
of  tint  and  draughtsmanship,  which  perplexed  earlier  critics  of 
the  Collection,  seem  to  be  almost  wholly  due  to  the  caprice  of  the 
ancient  artists,  and  to  the  materials  with  which  they  worked.  Only 
ver\'  rarely  does  our  present  knowledge  still  permit  doubt  whether 
retouches  are  ancient  or  modern. 

A  word  should  be  added  as  to  the  selection  and  arrangement 
of  that  part  of  the  C^'snola  (Collection  which  is  the  subject  of  this 
Handbook.  The  very  large  size  of  the  Collection  has  alwavs  made 
it  impossible  to  set  out  all  the  objects  for  general  studv;  and  in 
proportion  as  its  artistic  value  is  appreciated,  the  need  for  greater 
space  becomes  more  obvious,  if  justice  is  to  be  done  to  the  more 
important  pieces.  The  Collection  has  therefore  been  rearranged 
in  two  parts,  one  of  which,  a  "  Ijpe-Series"  formed  of  the  finest 
specimens  of  each  kind,  is  installed  mainly  in  the  Cesnola  Room 
and  its  Annex,  on  the  ground  floor  of  the  Museum;  and  partly  in 
the  .Museum's  rooms  for  Bronzes,  lerracottas,  and  Glass,  and  in 
the  Gold  Room  upstairs.  The  other  is  a  "Students'  Series" 
consisting  of  many  large  groups  of  objects,  of  almost  monotonous 
similarity,  it  is  placed  in  a  Basement  Hall,  easily  accessible  from 
the  Cesnola  Room,  and  more  convenient  for  the  special  work  of 
experts.  Here  it  is  intended  to  install  graduall\-  exhibits  illustrating 
particular  aspects  (jf  the  ancient  arts  and  industries  of  C\prus, 
and  thus  to  make  the  fullest  use  of  this  unri\alled  mass  of  material. 

After  full  consideration  of  all  available  e\idence  as  to  the  cir- 
cumstances of  discover}',  it  has  seemed  best  to  treat  each  object 
in  the  Type-Collections  as  an  independent  example  of  the  art  of 
Cyprus,  and  to  base  the  new  arrangement  solel\-  on  considerations 
of  workmanship  and  style.  Thus  arranged,  the  (Collection  con- 
stitutes a  series  of  the  principal  forms  of  potter\-,  sculpture,  and 
other  works  of  (C\priote  art  and  industry-,  which  is  certainl\-  the 
largest  of  its  kind,  and  also  the  most  \aried  in  all  but  a  few  depart- 
ments. After  withdrawing  more  than  half  of  the  former  contents 
of  the  show  cases,  there  remain  exhibited  nearl\'  eleven  hundred 
vases;  more  than  four  hundred  pieces  of  sculpture;  about  two 
hundred    inscriptions;    about    two   hundred   other   stone   objects, 

xxiv 


HISTORY    OF    THE    CESNOLA    COLLECTION 

such  as  vessels  of  alabaster,  steatite,  serpentine,  and  soft  limestone; 
about  four  hundred  terracotta  statuettes;  over  five  hundred 
bronzes;  nearly  nine  hundred  glass  vessels;  and  more  than  thirteen 
hundred  pieces  of  jewelry.  The  inscriptions,  which  are  of  less  gen- 
eral interest,  are  only  treated  briefly  here;  they  have,  however, 
been  recently  studied  exhaustively  by  the  late  Dr.  Richard  Meister, 
in  preparation  for  a  volume  of  the  Corpus  I )iscriptionnm  Graecanim, 
and  (by  the  courtesv  of  his  son,  Dr.  Ludwig  Meister)  his  final 
readings  are  incorporated  in  this  Handbook. 

The  Bronzes,  lerracotta  Figures,  Gold  and  Silver  Ornaments,  and 
Glass  are  now  grouped  with  the  Museum's  general  collections, 
and  the  Bronzes  will  be  more  fully  described  in  a  general  Catalogue 
of  Bronzes  which  is  in  preparation.  Very  few  objects  of  Bronze 
or  Terracotta  have  been  withdrawn  from  the  Type-Series;but  many 
bracelets,  rings,  and  earrings  of  silver  are  so  disfigured  by  exposure 
to  the  salt  moist  earth  of  Cypriote  tombs  that  they  have  lost  all 
artistic,  and  almost  all  scientific,  value,  and  have  therefore  been 
put  on  one  side.  Among  the  Glass  vessels,  too,  there  are  so  many 
duplicates  that  only  about  half  of  that  collection  is  exhibited. 

The  general  plan  of  this  Handbook  is  to  give  first  a  brief  summary 
account  of  our  present  knowledge  in  each  department  of  ancient 
work;  and  then  to  supplement  and  illustrate  this,  by  more  detailed 
commentary  on  the  examples  which  have  been  selected  for  exhibi- 
tion. As  far  as  was  possible,  each  exhibition-case  has  been  ar- 
ranged as  a  coherent  whole,  in  which  each  object  illustrates  and 
explains  its  neighbours,  while  the\'  supply  the  commentary  for  it. 
The  function  of  a  Handbook  is  sufficiently  performed,  if  it  prepares 
its  readers  to  discover  these  things  for  themsehes. 


XXV 


ANC1I-;NI    CYPRUS   IN    mSIORY  AND 
CLLILKK 

THE  island  of  Cvprus  lies  in  ihe  easternmost  basin  of  the 
Mediterranean  Sea,  44  miles  south  of  the  nearest  point 
of  Asia  Minor,  and  69  miles  west  of  the  S\Tian  coast.  Its 
greatest  length  is  about  141  miles;  and  its  greatest  breadth 
about  60;  but  much  of  the  island  is  narrow,  and  its  area  is  only 
3,584  square  miles;  it  is  thus  rather  larger  than  Crete,  but  smaller 
than  Sardinia  or  Sicil\-;  and  therefore  about  as  large  as  the  English 
counties  of  Norfolk  and  Suffolk  together,  or  twice  the  size  of  Long 
Island. 

Its  surface  configuration  closel\'  conforms  to  its  geological  struc- 
ture. The  southern  half  of  the  island  is  tilled  with  a  roughly  oval 
mass  of  dark  cr\stalline  rocks,  which  rises  to  6,406  ft.  in  Mt.  Troodos, 
towards  its  west  end,  and  three  other  peaks  further  east  are  of 
more  than  4,S<)o  feet.  i,argeareas  of  this  highland  were  formerl\' 
rich  in  copper.  Rugged  spurs  of  the  same  rocks  run  out  into 
bold  promontories  to  the  northwest;  but  most  of  the  foot  hills 
are  in  light-coloured  limestones  and  marls,  which  make  fertile 
foreshores  anil  run  out  eastward  in  a  rolling  plateau  as  far  as  Nicosia. 
Famagusta,  and  Larnaca.  The  lorig  straight  north  coast,  and  the 
wholeof  the  narrow  Karpass  promontory  to  the  northeast,  are  formed, 
on  the  other  hand,  of  an  abrupt  ridge  of  hard  grey  limestone  like 
that  of  .\lt.  Amanus  in  North  S\ria,  and  the  parallel  ridges  of  the 
Cilician  Taurus.  Its  seaward  slope  is  abrupt  and  almost  har- 
bourless,  but  the  long  breakwater  of  the  Karpass  shelters  open 
roadsteads  ofT  Salamis  and  Kition  to  the  southeast.  Between  this 
North  Ridge  and  the  Highland  of  I VckkIos  runs  a  broad  shallow 
depression,  the  .Wesaoria,  or  Midland  Plain,  mainl\'  alluvial,  and 
so  low  and  well  watered  that  it  forms  wide  marshes  towards  either 
coast,  and  especially  towards  the  east. 

xxvi 


ANCIENT    CYPRUS    IN    HISTORY    AND    CULTURE 

The  climate  and  vegetation  are  of  the  Alediterranean  type. 
The  summers  are  hot  and  dr\',  and  the  winters  rainy  with  but  little 
frost,  except  in  the  hills.  Olive  and  vine,  bay,  myrtle,  and  oleander, 
th\'me  and  sage,  asphodel  and  anemone,  are  characteristic  plants 
in  the  lowlands;  higher  up,  cereals  do  well,  and  oak  and  chestnut 
flourished  formerly;  on  the  heights  there  is  pine  forest  and  summer 
pasture.  Wild  sheep,  wild  goat,  and  ibex  are  the  principal  native 
animals;  in  anliquitv  the  island  had  a  bad  repute  for  serpents, 
but  harbours  no  dangerous  beasts.  Its  importance  in  the  ancient 
world  was  as  an  unfailing  source  of  timber  and  copper:  the  latter 
has  its  name  from  C\prus. 

In  history,  however,  its  interest  is  less  in  what  it  yielded  than  in 
what  it  received.  Situated  as  it  is  within  sight  of  Syria  and 
Asia  Minor,  and  within  a  few  da\'s'  sail  of  Eg\'pt,  and  of  Rhodes, 
Crete,  and  the  island-world  of  Greece,  it  partook  of  every  phase 
of  its  neighbours'  ci\ilization,  without  ever  wholly  surrendering 
either  its  own  indi\idualit\-,  or  its  earlier  loans  and  achievements. 
"Too  large  to  be  neutral,  too  small  to  be  self-sufficient,"  it  is  there- 
fore a  faithful,  if  rather  dilator\-,  record  of  e\ents  and  tendencies 
in  the  greater  world  around;  and  more  than  once  (^\prus  became 
the  prized  or  coveted  outpost,  now  of  East,  now  of  West,  in  the 
age-long  ri\alr>'  between  them. 

FIRST    HCMAN     POPULATION 

The  affinities  of  the  first  human  occupants  of  C}'prus  are  still 
obscure.  In  the  earliest  tombs  the  human  remains  are  almost 
always  so  fragmentary'  that  the\'  cannot  be  described  or  measured 
accurateh';  and  those  of  later  date  only  serve  to  show  to  what 
extent  the  ph\'sique  of  the  population  was  modified  by  successive 
immigrant  strains.  Of  these  the  most  important  are  the  Aegean 
colonists  of  the  later  P>ronze  Age,  the  Phoenician  settlers  from  the 
S\Tian  coast,  the  (Jreek  ach'cnturers  anti  traders  who  supplemented 
the  old  Aegean  colonies  in  the  b.arlv  Iron  Age  and  later,  and  the 
Saracen,  ITank,  ami  Turkish  conc|uerors  in  mediae\al  times.  But 
in  all  probability  thuir  island  home  has  selected  for  elimination  the 
most  alien  strains;  certainK'  in  modern  C\prus  the  difference 
between  "  lurk"  and  "Greek"  is  of  expression  rather  than  (jf  build. 
It  is  probablv  safe,  therefore,  to  separate  the  discussion  of  the 
culture  of  (Cyprus  from  all  questions  ol  race,  and  to  regard  its 
successive  occupants  simph'  as  contributors  to  st\'le. 

The  St(jne  Age  has  left  but  few  traces  in  C^vprus.     Palaeolithic 

xxvii 


INI  KDinr.TION 

deposits  arc  still  unknown,  and  of  the  Neolithic  Age  no  sites  have 
been  found.  K\en  implements  of  stone  are  rare,  and  almost  all 
of  these  belong  to  deposits  of  the  Bronze  Age.  It  must  be  re- 
membered, ho\\e\er.  that  the  earliest  tombs  with  potter\-  (jf  Bronze 
.-\ge  t\pes  contain  no  objects  of  metal,  and  als(j  that  the  onl\' 
parts  of  the  island  which  ha\e  stone  suitable  for  implements  are 
in  upland  and  inland  districts  which,  being  forest,  were  probably 
long  unoccupied  b\'  man,  \'et  there  is  reason  to  suppose  that  the 
first  users  of  potter\-  were  not  the  first  inhabitants;  primitive  people 
still  exist  elsewhere  who  max  be  described  as  lixing  not  e\en  in  an 
".Age  of  Stone,"  but  rather  in  one  of  Wood  or  Bone;  ignorant  also 
of  potter\  ,  or  oblixious,  if  the\-  e\er  had  this  art.  .And  in  the 
l-".arl\'  Bronze  Age  tombs  there  are  alread\'  two  distinct  racial  t\pes. 
Before  its  appearance  was  modified  by  human  ell'ort,  the  surface 
of  the  island  was  occupied  bv  three  t\pes  of  vegetation:  water- 
logged marsh  in  the  central  lowlands;  dense  forest,  mainl}'  conifer- 
ous, in  the  uplantls;  and  between  these  a  belt  of  parkland,  com- 
posed in  \ar\ing  proportions  of  deciduous  and  e\ergreen  trees  and 
shrubs,  with  rich  meadow  fringing  the  fens.  The  distribution  of  the 
earliest  sites  and  tombs  shows  that  it  was  this  parkland  which  first 
attracted  immigrants;  and  at  most  of  these  first  settlements  we  find 
the  primiti\'e  corn-rubbers,  and  large  milkbowls  and  ladles,  char- 
acteristic of  pastoral  and  agricultural  people.  The  great  fens  were 
impassable  earl\',  and  e\en  now  are  but  partial!}'  reclaimed;  but 
the  forests  were  more  penetrable,  and  were  graduall\-  cleared  for 
timber,  and  also,  when  the  copper  mines  were  opened,  as  fuel  for 
the  furnaces.  This  wealth  of  timber  and  the  habitual  use  of  mud 
brick  at  all  periods  go  far  to  explain  the  rarit}' of  stone  architecture 
such  as  is  the  glor\'  of  b-g\pt  or  of  Clreece. 

THL     BRONZE    ACE 

The  cixilization  of  these  settlements  is  essentiall\'  the  same  as 
that  of  the  S\  rian  coast  and  of  Egvpt  before  the  First  D_\nast_\'. 
I'he  simple  t\pes  of  copper  daggers,  axes,  and  pins  occur  also  on  the 
mainlands  opposite,  and  through  the  whole  extent  of  .Asia  Minor, 
far  awa\-  to  the  1  lellespontine  region  which  unites  it  with  south- 
eastern Europe.  The  red-polished  potter}'  exactl}'  resembles  that 
of  predxnastic  f'-g}'pt  m  its  fabric;  but  it  substitutes  fornis  so  ex- 
clusi\'el\"  iniitated  from  gourds  and  skin  \essels,  that  it  seems 
reasonable  to  suppose  that  the  art  of  pot-making  was  introduced 
in  an  advanced  phase  from  the  mainland,  into  an   island  culture 

xx\  iii 


ANCIENT    CYPRUS    IN    HISTORY    AND    CULTURE 

which  had  used  only  perishable  \essels  before:  the  rather  sudden 
apparition  of  a  fine  fabric  of  potter}'  would  thus  be  full\'  explained. 

The  Bronze  Age  culture  of  C>prus  falls  into  three  main  stages, 
which  approximately  correspond  in  range  with  the  Earl\',  Middle, 
and  Late  periods  of  Minoan  civilization  in  Oete,  though  their  char- 
acters are  distinct  until  far  on  in  the  I. ate  Minoan  Age.  In  the 
first  or  Early  l^ronze  Age,  the  implements  are  rather  of  copper 
than  of  bronze,  and  owe  their  hardness  to  the  presence  of  copper 
oxide,  not  of  tin.  The  pottery  is  all  of  the  handmade  "red-polished" 
fabric  alread}'  mentioned;  painting  is  unknown,  and  the  decoration 
is  essentiall}-  geometrical,  and  reminiscent  of  basketr\-,  with  onl}' 
rare  attempts  to  represent  animals  or  plants.  Stone  was  in  use 
for  perforated  maceheads  like  those  of  primitive  Eg\pt,  and  also 
for  whetstones  and  beads.  The  simple  pins  of  copper  seem  to  have 
been  modelled  on  pins  of  wood  or  bone.  Imported  objects  arc  as 
}'et  unknown,  and  there  is  no  proof  of  an\'  export  of  C}'priote 
objects;  though  it  is  probable  that  the  copper  supply,  once  dis- 
covered, did  not  long  remain  an  island  secret. 

In  the  second  or  .Middle  Bronze  .A.ge,  implements  of  true  bronze 
become  common,  and  a  coarse  allov  of  siher  and  lead  is  used  for 
ornaments  of  thick  wire.  Potterx'  of  light  cla\'  appears  alongside 
the  red  ware,  with  patterns  in  a  painted  dull  black  umber  which 
is  found  in  the  island;  and  foreign  imports  are  found.  Such  im- 
ports are  Eg\ptian  beads  (jf  blue  glaze,  assignable  to  the  XII 
D\'nasty  and  therefore  not  much  later  than  2000  B.  C,  and 
cylindrical  seals  from  Babylonia,  one  of  which.  No.  4300 
i. -411(1$  III,  cx\'iii,  5)  belonged  tcj  an  official  of  Naram- 
Sin  who  reigned  in  Accad  not  later  than  2()Oo  B.  C^.  But  it  must 
be  remembered  that  these  are  dates  of  the  manufacture  of  the 
objects  themselves;  and  although  it  is  probable  that  such  objects 
(if  found  in  early  tombs,  which  is  not  alwa\s  demonstrable)  were 
brought  to  (Cyprus  not  as  anti(.|uilies  but  in  common  use,  and 
not  long  after  they  were  made,  vet  the  formal  jiroof  that  this 
was  so  is  not  complete  unless  objects  of  the  (^\priote  fabrics 
associated  with  them  ha\e  been  found  in  I-'.g\ptian  or  Bab\ionian 
tleposits  of  the  periods  to  which  those  i.\liiKlers  and  beads  belong. 
1  or  the  later  Bron/c  Age,  which  is  conleniporar\-  with  the  Will 
l)\nastv,  this  comji|emeiUar\'  [iroof  exists;  but  not  at  present  for 
an\'  earlier  period.  The  distribution  of  the  "black-punctured" 
fabric  of  potter\-,  however,  in  (A  |)rus,  S\ria,  and  lyg\pt,  supplies 
e\-idence  of  secondarv  \alue   in    regard   to  the  centuries   between 


INTRODL'Cl  ION 

tho  Will  l)\nast\'  and  the  Xlllti;  and  ihcre  arc  also  a  few  faint 
traces  of  intercourse  wilh  the  Middle  Minoan  culture  of  Oete  and 
the  Aei^ean  islands,  whicli  certainl\'  belongs  to  the  same  interval 
of  time.  What  is  more  important,  for  the  general  culture  of  the 
island,  is  the  e\idence  from  primiti\e  cla\'  figures,  that  C\prus 
shared  with  the  nearest  mainlands  in  the  widespread  cult  of  the 
great  Mother  Goddess  of  Asia,  with  all  that  that  worship  implies. 

In  the  third  or  Late  Bronze  .Age,  and  probabi}'  about  the  time 
of  the  fall  of  the  Knossian  Empire  in  Crete,  which  can  be  dated 
about  1400  B.  C,  colonists  from  the  shores  and  islands  of  the 
■Aegean  Sea,  and  among  others  from  Crete,  brought  with  them 
their  own  remarkable  culture  and  industries,  which  had  alreadx' 
a  long  history,  in  their  new  settlements  in  Cyprus  appear  new 
l\pes  of  weapons,  line  wheelmade  potter}',  and  a  style  of  art  which 
after  long  naturalism  was  now  becoming  stiff  and  conventional. 
Cold  and  ivory  are  now  abundant,  silver  of  good  quality  super- 
sedes the  old  leaden  alio}',  and  glass  and  enamel  are  known.  Ex- 
tensive intercourse  with  S\ria,  Palestine,  and  Egypt  brought 
other  new  kinds  of  poller)',  which  were  freel\'  copied  in  the  island, 
and  datable  scarabs  and  personal  ornaments  of  the  XVII 1  and 
XIX  Dxnasties  ( 1000-1200). 

It  is  not  certain  whether  Eg}'pt  had  direct  intercourse  with 
(2\prus  in  this  period.  The  rich  regions  known  as  Asi  and  Alasia, 
which  appear  repeatedly  in  Eg\'ptian  documents  from  close  on 
1500  to  as  late  as  1117,  have  been  commonix'  identified  with  the 
island  or  with  districts  of  it,  but  the  older  \iew,  that  the}'  are  to 
be  sought  on  the  Syrian  mainland,  seems  now  to  be  better  supported; 
and  a  list  of  hostile  cities  recorded  b\'  Kameses  111  in  his  Philistine 
war  of  I  H)4,  though  it  includes  a  group  of  names  \'er\'  like  those 
of  Salamis,  Kition,  Idalion,  Soloi,  and  others  prominent  in  historic 
limes,  gives  no  clear  indication  of  the  counlrx'  in  which  they  la\'. 
There  is,  moreover,  nothing  in  this  period  which  can  be  ascribed 
to  specifically  Phoenician  influence;  and  the  onl}'  traces  of  writing 
are  in  a  variety  of  the  Aegean  script.  The  magnificent  tombs  at 
Salamis  and  Kurion  illustrate  the  prosperit)'  ani.1  arlistic  wealth 
of  C\'prus  at  this  lime.  Similar  colonies  founded  on  the  Syrian 
coast  rather  later,  became  eventuallv  the  seat  of  that  Philistine 
power  which  harassed  the  Israelite  tribes  until  the  days  of  Saul 
and  David  fio^o-yjo).  Thus,  in  the  Late  Bronze  Age,  not  Cvprus 
onlv,  bul  all  this  end  of  the  .Mediterranean  became  for  a  while  a 
strong  outpost  of  Western  civilization. 

XXX 


ANCIENT    CYPRUS    IN    HISTORY    AND    CULTURE 

About  iioo,  however,  the  Aegean  region,  and  particularly  its 
western  side,  was  invaded  and  conquered  by  comparatively  bar- 
barous tribes  from  Balkan  and  Danubian  lands,  who  broke  up 
the  old  Minoan  culture  and  themselves  became  civilized  very 
slowly.  Across  the  Hellespont,  the  Hittite  power,  which  had 
drawn  all  North  Syria  into  a  political  s}stem  with  its  heart  in  Asia 
Minor,  suffered  no  less  from  European  invaders,  and  seems  to  have 
been  broken  for  a  while.  Egypt,  too,  was  distracted  by  political 
troubles  within,  and  ceased  to  take  part  in  the  affairs  of  the  sea- 
board districts.  Cyprus  was  thus  cut  off  both  from  the  mother- 
land of  its  jMinoan  colonists,  and  from  all  the  principal  centres  of 
old  culture  in  the  Levant.  The  Alinoan  colonies,  however,  long 
maintained  themselves  in  comparative  prosperity,  mainly  because 
their  wealth  in  copper  and  timber  made  them  valuable  to  neigh- 
bours on  the  S)rian  coast.  Meanwhile  the  destruction  of  the 
Philistine  league  of  coastland  cities  by  the  first  Israelite  kings 
restored  all  southern  S}ria  to  people  of  Semitic  speech  and  culture 
and  broke  its  connection  with  the  West.  North  Syria,  too,  after 
the  Hittite  decline,  was  apparently  too  much  distracted  by  internal 
feuds  to  have  either  interest  or  influence  abroad.  But  these  defec- 
tions were  of  no  serious  consequence  either  for  C\'prus,  or  for 
the  central  section  of  the  mainland  coast,  secure  between  Lebanon 
and  the  sea.  Here,  therefore,  Cyprus  may  well  have  continued  to 
play  an  important  part,  during  the  rise  of  that  Phoenicia,  industrial 
and  mercantile,  which  was  replacing  Minoan  Crete  as  chief  agent 
of  exchange  in  these  seas.  It  is  probably  no  accident  that  the  year 
1108,  from  which  Tyre  dated  its  events,  lies  on  the  eve  of  that 
Northern  Invasion  which  was  stemmed  by  Rameses  111  in  Philistia, 
and  gave  us  incidentally  (p.  xxx)  the  first  probable  glimpse  of  the 
cities  of  Cvprus. 

TUB    hARLY    IKON    AGE 

Characteristic  of  this  whole  period  of  transition  is  the  gradual 
substitution  of  iron  for  bronze  as  the  principal  material  for  cutting 
instruments.  Iron,  indeed,  is  found  rarel)',  but  almost  exclusively 
for  (ornaments,  in  a  few  tombs  of  the  Later  Bronze  Age;  but  it 
then  becomes  common  so  sutidenly,  both  fortof)ls  and  for  weapons, 
thai  it  seems  necessar\'  lo  connect  its  introduction  here,  as  in  the 
Aegean,  with  the  economic  and  polilical  changes  which  broke  up 
the  Bronze  .Age  culture.  It  is  [lerliaps  significant,  in  this  connec- 
tion, that  the  first  iron  swords  in  (■}prus  are  of  a  type  charactcr- 

xxxi 


introdl;ction 

i>iic(il'  iiortlu'in  (.ireeco  and  ihc  lands  bordering  on  the  Adriatic. 
The  iron  of  C^\  prus,  howex'er,  is.  in  the  main,  t)f  native  manufacture: 
the  Jiiet'  mines  were  at  I  amassos,  in  tlie  heart  of  the  ishuid,  and 
near  Soloi  on  ihe  northwest  coast,  in  close  pro,\imit\-  to  the  copper 
tieids  and  the  forest  fueh 

As  ue  still  li\e  in  a  culture  where'  iron  is  the  chief  useful  metal, 
it  is  convenient  to  describe  the  first  threat  phase  of  that  culture  as 
the  I-^arh  Iron  Age,  and  to  use  this  term  to  include  all  those  obscure 
and  tor  the  most  part  barbarous  centuries  which  lie  between  the 
close  of  the  Bronze  Age  and  the  beginning  of  the  historic  age  in 
Greece  and  Italw  The  latter  is  also  the  point  at  which  western 
influences  once  more  reassert  themselxes  in  C\'prus.  The  same 
periotl  has  also  been  sometimes  described  as  Cjraeco-Phoenician, 
on  the  ground  that  it  is  within  its  limits  that  both  the  Greek  and 
the  Phoenician  cities  arose,  wTiich  are  found  to  divide  the  island 
between  them  at  its  close.  But  in  some  respects  that  name  still 
takes  too  nuicli  for  granted,  and  the  term  "Early  Iron  Age"  will  be 
used  for  the  most  jiart  in  what  follows. 

.An  luirl\-  Iron  Age,  or  Graeco-Phoenician  .Age  thus  defined,  is 
conveiiienth'  subdi\ided,  lif;e  the  I'ronze  .Age,  into  three  periods: 
Earl\-,  .Middle,  and  Late.  Gf  these,  the  first  may  be  described 
as  " Transitional."  because  bronze  is  still  in  use  for  weapons,  side 
b\'  side  with  iron;  and  the  whole  culture  still  bears  traces  of  its 
-Minoan  anleu'dents.  It  covers  all  that  has  sometimes  been  called 
"Sub-.\lycenaean.''  or  less  happil\'  labelled  as  "Late  Minoan  IV." 
In  this  Transit ional  Perioti,  which  nia\'  be  taken,  proxisionally, 
to  extend  from  about  1200  to  about  1000,  gold  and  siK'er  orna- 
ments become  \er\  rare,  foreign  imports  almost  cease,  engraved 
cylinders  and  scarabs  become  quite  barbarous  in  st\le,  and  begin  to 
be  replaced  b\  conical  ;ind  p\ramidal  seals  like  those  of  Asia 
.Minor  and  North  S\ria,  and  the  Bronze  .Age  dress-pins  are  sup- 
planted b\'  safet\-pins  derixed  from  southeast-Iiuropean  t_\pes. 
Lxcejn  a  few  childish  terracottas  and  animal-shaped  \ases,  there 
is  no  longer  ;in\  'representatix  e'  art.  Decoration  rapidly  becomes 
geometrical,  jiresenting  however  onlv  slight  allinitv  with  the  con- 
temporary geometric  stxies  in  Oeece  and  the  Aegean  islantls,  while 
its  nearest  counterparts  ;ire  on  the  Philistine  co.ast  and  in  contem- 
pfjrare  t(jmbs  from  the  neighbourhood  of  GarLhemish. 

In  the  second  or  midtlle  period  of  the  Iron  .Age,  the  tlisuse  of 
bronze  for  unplements  is  complete,  and  the  decorative  art  is  pureh' 
geometrical;  even  when  circles  are  emplox'ed,  thee  are  made  not 

XXXll 


ANCIENT    CYPRUS    IN    HISTORY    AND    CULTURE 

freehand,  but  geonietriLall\-  with  compasses;  conclusixe  evidence 
of  the  workman's  distrust  of  his  hand.  We  nia\'  well  describe 
this,  therefore,  as  the  "Geometrical"  period,  l-oreign  imports 
are  almost  absent;  rare  vases  of  geometric  st\ie  from  the  Aegean, 
rareHittite  seal-stones  from  the  mainland;  all  copied  locally,  and  the 
latter,  in  their  rougher  examples  not  easih'  distinguished  from  the 
local  copies.  Fombs  of  this  period  are  not  common,  and  the  ana- 
logy of  the  cemeteries  near  Garchemish  suggests  that  cremation 
may  have  had  a  temporary  vogue.  This  Geometric  Period  may 
be  taken  to  begin  about  looo  and  last  till  about  750. 

In  the  third  period,  on  the  other  hand.  Oriental  influences  re- 
appear, and  rapidlx"  predominate.  The  reason  for  this  was  two- 
fold. The  old  kingdom  of  Assyria,  in  the  middle  basin  of  the 
Tigris,  had  already  twice  won  and  lost  an  empire,  before  it  entered, 
in  745,  on  a  third  cycle  of  conquests,  which  culminated  in  a  con- 
quest of  KgxTit  in  668-4  'I'ld  ended  in  abrupt  ruin  and  partition 
shortl}'  before  600.  The  earlier  stages  of  achance  were  rapid. 
The  Euphrates  was  crossed  about  742.  Damascus,  the  greatest 
junction  of  land  routes  in  Western  Asia,  opened  its  gates  ten  years 
later.  T\Te  surrendered  in  722,  and  the  king  of  Eg\'pt  was  beaten 
on  his  own  frontier  in  720.  Ten  \ears  more,  and  an  Ass\Tian  arm\' 
occupied  (^ilicia,  and  threatened  to  in\ade  Cappadocia.  But 
to  invade  Asia  Minor  b\'  that  coast  road,  without  guarding  against 
raids  from  o\er  sea,  would  ha\e  been  reckless,  and  it  testifies  both 
to  Ass\Tian  polic\  and  to  the  real  importance  of  C^\prus,  that  in 
709  se\'en  kings  of  (]\'prus  came  to  do  homage  to  Sargon  11,  and 
set  up  his  reccjrd  of  their  surrender  on  the  citatlel  of  Ivition.  The 
monument  is  now  in  Berlin.  Their  submission  ma\-  ha\e  been 
little  more  than  nominal,  but  it  rexcals  a  li\ely  interest  in  the 
politics  (jf  the  mainland,  and  also  the  existence  of  a  s\stem  of  small 
kingdoms  in  C^\prus,  of  which  we  ha\e  more  proofs  later. 

(.FU-I-.KS    AM)    IMIOliNICIANS     IN    CVI'Kl   S 

I  he  other  cause  of  acti\it\  in  (>\prus  ojicrated  from  the  West. 
I  he  Ai'gean  peoples  had  outli\etl  their  disasters;  lhe\'  ci\ili/.i'il 
and  absorbed  their  coiu]Uerors:  and  now  began  again  to  explore 
and  ex[)loit  tlu'ir  Alecliterranean.  world,  along  the  same  sea\\a\s  as 
their  Alinoan  predecess(jrs.  I  he  fw^l  (week  colonies  in  llie  West, 
S\racu^e  and  \'axos,  were  lounded  almost  on  .Mmoan  sites  about 
7^,5  (tlii-\far  of  t  he  surrentler  of  Damascus),  and  larentum,  the 
eastern   gate  ol    ltal\,  about   71-0.       l'.\j)lorai  ion  of  the   Pdaclx  Sea 

xxxiii 


INTRODliCTlON 

began  but  little  later;  and  the  name  Yavana  or  "Ionian"  Greek 
is  used  b\'  Sargon  to  describe  an  o\ersea  eneniw  and  again  for 
a  similar  intruder  at  Ashdod  in  Philistia,  and  again  in  709  for  an 
island  which  can  onl\'  be  C\prus;  and  then  in  (k)(S  for  a  seaborne 
enem\'  which  harried  the  shoreward  tlank  of  an  Assyrian  arm\'  in 
Cilicia.  All  this  throws  light  on  the  Greek  traditional  "List  of 
Seapowers,"  in  which  C\prus  stands  next  before  Phoenicia,  and 
after  Phrygia,  Thrace,  and  others  of  the  regions  most  disturbed 
b\-  the  Northern  Invaders.  The  "Phr\gian  Seapower"  is  doubtless 
the  seaward  aspect  of  that  new  landpower  in  Asia  Minor  which  was 
the  principal  northward  anxiet\'  of  the  rising  Ass\ria,  the  historical 
basis  of  Greek  legends  about  Midas  and  his  gold,  and  the  source 
whence  C\prus  was  deriving  so  man\'  mainland  seal-stones,  during 
the  Geometrical  Period.  The  traditional  dates  for  these  seapowers 
are  imperfect!}-  recorded  and  variousl\'  interpreted,  but  it  seems 
probable  that  this  "Seapower  of  C\prus"  began  about  742,  when 
Phr\gian  prestige  was  waning,  and  ended  with  the  submission  of 
its  kings  to  Sargon  in  709.  This  surrender  gave  to  T\re  and  other 
mainland  cities  unwonted  freedom  of  access  to  the  west,  and  so 
made  room  for  a  "Phoenician  Seapower"  which  in  turn  facilitated 
the  Ass>Tian  attack  on  Eg\pt  in  668.  During  this  "Phoenician 
Seapower"  C\prus  reappears  in  702  as  a  place  of  refuge  for  a  rebel 
chief  from  Sidon,  and  eventual!)'  as  an  all}'  of  Assurbanipal  in  his 
Egxptian  war.  But  its  kings  are  enrolled  not  with  Phoenicia  but 
with  the  Hittite  principalities  of  Cilicia;  and  of  those  whose  names 
are  recognizable,  the  majorit}'  are  Greeks,  P}'lagoras  of  Kh\troi, 
Eteandros  of  Paphos,  Onasagoras  of  Ledroi.  Kition,  the  principal 
Phoenician  settlement  in  C}prus,  does  not  appear  hv  name,  but 
is  usuall}'  recognized  in  this  list  under  the  description  Karti-hadasti 
or  "New  Town,"  which  it  shares  with  Carthage,  its  greater  cousin 
in  the  West.  In  \  iew  of  this  Greek  predominance,  it  is  not  sur- 
prising that  Hebrew  geographers  should  ha\e  classified  as  "children 
of  \'a\'an,"  that  is  to  sa}',  Ionian  Greeks,  not  onl}'  "  Kittim,"  which 
is  Kition,  but  the  mainland  districts  of  Alasia  and  Tarsus.  There 
is,  however,  no  reason  to  suppose  that  this  was  more  than  a  rein- 
forcement of  the  old  colonies.  The  peculiarities  of  the  Cx'priote 
dialect  of  Greek,  and  its  affinities  with  that  of  .Arcadia  and  other 
districts  which  had  no  oversea  actixit}'  in  historic  times,  force  the 
conclusion  that  the  Greek  language  was  established  alread}'  in 
Cyprus  before  the  close  of  the  niigrations,  in  the  twelfth  and 
eleventh  centuries,  and  also  that  it  had  ne\er  lost  its  hold.     Greek 


ANCIENT    CYPRUS    IN    HISTORY    AND    CULTURE 

tradition,  too,  linked  C\priote  families,  and  even  some  of  the  cities, 
with  an  Arcadian  origin.  Further  piroof  is  supplied  by  the  litera- 
ture. Outside  the  narrower  circle  cjf  "Homeric"  song  no  links 
with  old  time  were  believed  b\-  the  Cj reeks  to  be  closer  than  the 
"Cyprian  Epics"  in  which  we  recognize  the  minstrels>'  of  these 
C\'priote  courts.  Thus  closel)'  allied  in  language  and  literary 
tradition,  it  was  eas}',  therefore,  when  the  seawaxs  la_\'  open  once 
more,  for  Greek  adxenturers  and  traders  to  make  touch  with 
their  kinsmen  in  the  island.  The  political  s\'stem  of  Cyprus, 
as  we  see  it  in  historic  times,  combined  the  rule  of  monarchs  like 
those  of  the  Homeric  Age,  with  a  sxstem  of  independent  cit\'- 
states,  each  with  its  own  territor\',  such  as  characterized  all  Greek 
lands  since  the  migrations.  Such  a  regime  was  stable  enough, 
and  yet  conformable  enough  to  Greek  ideas,  to  make  recolonization 
unnecessary;  but  there  was  clearl}'  interchange  of  commodities 
and  ideas,  and  some  inflow  of  settlers,  within  the  bounds  of  existing 
communities. 

THE   EFFECTS  OF  CONTACT  WITH  ASSYRIA 

Under  these  new  conditions  of  enforced  contact  with  an  aggres- 
sive Oriental  empire,  cssentiall}'  Bab\ionian  in  culture,  and  of 
exploitation  by  keen-witted  Westerns,  "eager  to  see  or  to  hear 
some  new  thing,"  and  profoundly  impressed  by  the  show  of  mature 
experience  which  the  East  offered,  Cyprus  assimilated  rapidly 
the  culture  and  craftsmanship  of  the  mainland,  while  reserving 
freedom  to  use  them  for  new  ends.  Just  as  Ahaz  of  Judah  copied 
for  the  "House  of  the  Lord"  at  Jerusalem  the  altar  which  he 
had  admired  in  732  at  the  Ass>rian  durbar  at  Damascus,  so  the 
seven  kings  of  C)prus  who  did  homage  in  709  brought  back  more 
than  a  political  understanding.  The  result  was  a  blend  of  con\en- 
tion  and  originalil}',  as  attractive  as  it  is  rare;  sharper  and  more 
capricious  in  its  contrasts,  less  durable  and  fertile  in  ellect,  than 
the  slower,  less  exotic  bloom  (;f  renascent  Greece.  Actual  imports 
are,  however,  still  curiously  rare:  from  the  West  a  few  \ases  of  proto- 
Corinthian  fabric,  fewer  still  from  the  later  Orientalizing  schools, 
replacing  earlier  imports  of  geometrical  st\  le  hardiv  less  infrecjuent; 
from  the  East  a  few  late  cunt-iform  c\  linders  and  pyramidal  seals. 
It  is  rather  in  an  influx  of  ornamental  nioliws  and  technical  de\ices 
that  the  ni'W  ide;is  are  embodied;  sailpture  of  life  size  and  more; 
cla\'  figures  hardh'  less  ambitious,  and  more  brightl\-  cciloured; 
"  BabylfJiiitish  garments"   richlv   fringed  and  embroidered;  cable- 


INTRODUCTION 

ornaments,  rosettes,  and  pa!ni-leaf  designs;  massive  earrings  and 
bracelets,  and  the  pompous  artifice  of  curled  hair  and  beard:  and, 
on  the  other  hand,  a  new  deft-handedness  of  potters  and  bronze 
workers  which  sometimes  rises  almost  to  proto-Corinthian  grace. 

Tin,     HFlhCTS    OF    CONTACT    WITH    HGYPT 

This  AssNTian  predominance,  artistic  and  political,  lasted  about 
fifty  \ears.  Fhen,  in  664,  a  quite  new  factor  enters,  the  rejuve- 
nated Egypt  of  the  XXVI  Dynaslv.  Here,  too,  as  in  Cilicia  and 
on  the  Philistine  coast,  free-companies  of  lonians  and  Carians  — 
"bronze  men  from  the  sea,"  as  the  oracle  said  —  were  forcing  their 
way  into  a  culture  which  crumbled  at  their  touch,  as  its  own 
granite  weathers  in  sea-wind.  Egyptians  complained  that  they 
were  "children  that  would  not  grow  up,"  and  they  were  enjants 
terrihles  as  well,  intrusive,  insatiate,  almost  intolerable.  These 
laid  the  train:  .Assurbanipal's  reckless  inroad,  and  four  years' 
insolent  oppression,  struck  a  spark,  e\'en  from  Egyptian  fellahin. 
Psammetichus,  hereditar\'  prince  of  Sais,  had  a  royal  brain  and  a 
personal  wrong:  and  the  "bronze  men,"  hero-worshippers  all,  were 
his  to  the  death.  Egypt,  after  long  paralysis,  sprang  to  her  third 
renascence,  and  became  a  Mediterranean  power.  The  Greek 
"List"  gives  her  fort\-  years  of  virtual  mastery  of  the  sea;  and  her 
spell  was  on  Greek  minds  and  craftsmen's  hands  for  a  century. 

Cyprus  no  doubt  fell  early  under  that  spell;  but  chronolog}- 
becomes  ditificult  here.  On  the  one  hand,  it  seems  likely  that  in 
Eg\'pt  itself  artistic  revival  slightly  preceded  political;  certainly 
it  would  be  over-cautious  to  assign  to  the  XXV'l  Dxnasty  all  the 
quaint  trinkets  of  Egx'ptian  st\ie  which  enrich  the  C\-priote  jewelry. 
If  Egypt  is  to  be  strong,  it  must  secure  itself  by  conquest  in  Syria; 
its  political  frontier,  in  the  old  world,  was  rather  at  the  Euphrates 
than  at  the  Isthmus,  and  under  the  new  conditions  Syria  was  not 
safe  as  long  as  C\'prus  was  free.  The  Nubian  conquerors  of  Egypt 
from  730-668  knew  this,  so  far  as  Syria  was  concerned,  though 
they  never  were  allowed  to  realize  it;  and  the  traces  of  early  Cyp- 
riote style  and  forms  in  Nubian  pottery  and  jewelry  are  among 
the  most  curious  revelations  of  recent  archaeology.  Moreover,  in 
its  brief  subjection  to  AssvTia,  Egypt,  hitherto  left  behind  in  the 
Bronze  Age,  had  learned  the  lesson  of  the  "superior  weapon": 
iron  is  as  familiar  henceforward  in  the  armoury  of  Eg\pt  as  in  the 
rest  of  the  Mediterranean  world:  and  Cyprus  was  b\'  this  time 
both  the  richest   and  the  nearest  iron-field.     On  the  other  hand. 


ANCIENT    CYPRUS    IN    HISTORY    AND    CULTURE 

though  the  Egyptian  fleet  of  Apries  won  a  great  victory  over  a 
Cypriote  league  in  594,  the  political  conquest  of  Cyprus,  like  the 
organization  of  the  great  treaty-port  of  Naukratis  —  the  Shanghai 
of  the  ancient  world  —  is  expressly  reserved  to  Amasis.  Within 
his  long  reign  (570-525)  we  have  no  closer  date-marks;  but  the  rare 
Cypriote  statues  in  Egyptian  royal  insignia  (1363)  can  hardly  pre- 
cede this  annexation. 

Within  these  limits,  there  is  room  for  at  least  three  generations 
of  craftsmen  for  whom  Egxpt,  not  Assyria,  was  the  standard  of 
taste  and  skill.  There  is,  however,  no  reason  to  believe  that  Assy- 
rian models  were  abandoned  either  suddenly  or  gladly  in  the 
Levant,  least  of  all  among  people  so  tenacious  as  the  Cypriotes  of 
things  once  learned.  On  the  mainland  certainly  there  was  chaotic 
overlap  of  styles,  not  unworthy  of  the  political  confusion  depicted 
in  Jewish  literature,  when  the  luck  of  Assyria  turned  and  dismem- 
berment began:  and  the  balance  of  interests,  lasting  so  long  as  it 
did,  retarded,  not  unwholesomely,  the  precocious  island's  develop- 
ment. To  an  Oriental  style  with  mainly  Assyrian  influence  suc- 
ceeds a  Mixed  Oriental  style,  in  which  the  influence  of  Egypt, 
always  apparent,  never  wholly  prevails,  mainly  because  it  was 
during  this  respite,  and  in  great  measure  because  of  it,  that  Cyprus 
grew  once  more  to  be  so  nearly  Greek  as  it  did. 

CYPRUS    INDER    PERSIAN     RULE 

The  partition  of  the  Assxrian  Empire,  therefore,  and  the  short- 
li\ed  rivalry  of  .Vledia  and  Babylonia,  affected  C\prus  little,  ex- 
cept in  so  far  as  they  stirred  the  ambitions  of  Egypt.  Only  when 
the  new  Persian  monarchy  reunited  all,  and  more  than  all,  that 
Assyria  had  ruled,  annexing  Phoenicia  without  a  struggle,  and  easily 
conquering  Egypt  in  525,  was  (2\prus  drawn  once  more  into  an 
ambiguous  position,  di\icled  in  interest,  as  it  was,  between  its 
Phoenician  cities,  wh(j  stood  to  gain  much  from  the  forward  polic\' 
of  Persia,  and  their  (ireek  ri\-a!s,  who  felt  they  had  evervthing  to 
lose.  When  C\'prus  was  incorporated  in  the  new  Empire,  is 
unknown,  but  it  was  alread\' annexed  bet-ore  llie  Egx'plian  campaign, 
and  was  included  by  Darius  in  his  "lifth  Satrapx,"  the  adminis- 
trative province  of  S\ria.  10  ils  maritime  provinces,  already 
highlv  civilized,  Persia  had  but  one  material  adxantage  to  oifer, 
security  lor  peace  and  just  administration;  and  this  ihe  wise  rule 
of  Darius  seems  to  have  guaranteed.  (A'rtainl\'  Cvprus  nourished. 
Ils  rich  series  of  sih'er  coins  iiegins  about  this  lime;  il^  tombs  con- 


IN  IRODL'CTION 

firm  that  evidence.  b\'  their  wealth  of  jewelr\'  and  other  works  of 
art;  its  embroideries  were  famous  throuf:,hout  the  Greek  world; 
anil  this  fact,  together  wilh  the  frequenc\'  of  Western  imports, 
sugf^ests  that  Persian  suzeraint\'  was  compatible  with  very  free 
intercourse  with  states  outside  the  limpire.  We  have  historical 
rect)rd,  too, of  the  dealings  of  Evelthon,  Kingof  Salamis,  with  Gyrene 
in  North  Africa,  and  with  the  sanctuar\'  of  Delphi.  It  was  in  these 
favourable  surroundings  that  the  Mixed  Oriental  stvle  softened 
and  ripened  into  the  .Archaic  G\priote,  which  at  its  best  has  little 
io  distinguish  it  from  the  sister  schools  of  Greece. 

CYPRUS    IN    DISl'UTh    BETWEEN    GREIXE    AND    PERSIA 

I'hen,  in  500,  a  momentous  quarrel,  not  of  G\'priote  origin, 
spoiled  all.  The  Greek  cities  of  Ionia,  which  had  paid  since  545  the 
same  light  homage  tribute  to  the  Great  King  as  those  of  Cx'prus, 
became  in\'olved  in  a  tangle  of  personal  intrigues  and  nationalist 
ambitions,  which  has  never  been  unravelled,  threw  off  their  alle- 
giance, and  involved  their  Cxpriote  kinsmen  in  the  quarrel. 
To  the  grandiose  intriguers  in  Ionia,  Cyprus  might  well  seem  an 
outpost  of  the  first  importance;  but  Herodotus,  who  had  his  own 
opinion  about  the  re\'olt,  uses  this  C_\'priote  wing  of  it  to  illustrate, 
as  b\'  a  diagram,  the  futilitx'  of  the  whole.  The  Pht)enician  cities 
saw  their  chance,  and  declared  for  Persia  at  once;  the  Cjreeks  quar- 
reled among  themselves;  Persia  struck  hard  and  promptly-,  for  a 
hostile  C\prus  barred  all  seawa\'s  westward.  A  single  battle 
ended  the  rising,  but  an  e\il  feud  smouldered  on.  Greek  and 
Phoenician  had  li\'ed  side  b\'  side  in  the  island  for  centuries,  open 
rivals  in  the  development  of  its  resources,  but  united  b}'  strong 
material  ties,  a  common  home,  and  almost  indistinguishable  culture 
and  tastes.  Now,  national  as  well  as  economic  interests  had 
been  jarred;  blood  had  flowed;  and  for  ncarh'  two  centuries  both 
halves  of  Cyprus  were  fated  to  be  intermittent  pawns  in  a  larger 
struggle.  As  long  as  Persia  could  hold  the  sea  with  her  mainl\' 
Phoenician  fleet,  and  engage  the  Aegean  Greeks  in  their  home  waters, 
C\'prus  had  the  duty,  inglorious  but  \'ery  profitable,  of  supphing 
that  fleet's  necessities.  But  when  the  Greek  victor)'  at  M\kale 
drove  it  from  the  .Aegean,  still  more  when  in  466  the  battle  at  the 
Eurymedon  River  deprived  it  of  all  mainland  bases  east  of  Cilicia, 
possession  of  the  resources  of  C\'prus  became  the  next  stake  in  the 
game,  and  the  eastward  roadstead  of  Salamis  the  natural  base 
from   which   to  observe   its   home  ports,   the   Phoenician   arsenals 

xxxviii 


ANCIENT    CYPRUS    IN    HISTORY    AND    CULTURE 

(and  with  good  luck,  to  blockade  it  there),  and  to  cover  the  large 
operations  against  Egypt  into  which  Athens  was  drawn  from  460 
to  454.  For  the  moment  things  went  well:  the  Persian  garrisons 
were  driven  out  of  Lower  Egypt,  and  Cyprus  seemed  to  be  incor- 
porated in  the  Greek  world  for  good.  Salamis  was  the  centre  of 
Hellenic  feeling:  the  Phoenicians  rallied  round  Kition  and  Amathus, 
both  defensible,  and  Kition,  as  it  turned  out,  unassailable  with  the 
forces  which  Athens  could  spare;  for  her  Egyptian  adventure 
failed  miserably  in  454.  Worse  than  that,  its  blockade  cost 
Athens  the  life  of  her  greatest  admiral  in  449,  and  his  aggressive 
policy  died  with  him. 

ForCypriote  art  these  alternations  were  disastrous.  At  the  crucial 
moment,  just  w^hen  the  Archaic  Cypriote  style  was  ripening, 
the  link  with  Hellenic  art  was  snapped  by  the  fiasco  of  499, 
and  C\'priote  craftsmen  had  to  mature  their  art  unaided,  among 
futile  political  distractions.  The  result  was  a  check  and  perversion 
of  effort  which  was  irremediable;  for  when  intercourse  was  restored, 
Hellenic  art  had  advanced  so  far  be}'ond  C\priote,  that,  instead 
of  stimulating  rivalry,  it  either  compelled  imitation,  or  sterilized 
originality.  Vase-painting  makes  almost  no  progress  at  all  in  Cy- 
prus after  500,  and  is  in  full  decay  by  450.  Sculpture,  which 
suffered  less  from  direct  comparison  of  masterpieces,  passes  from 
freedom  to  convention  or  servility.  Only  in  jewelry,  which  was 
portable  enough  for  refreshing  models  to  wander  in  continually, 
does  the  island  art  hold  its  own  at  all  with  the  Western  sl\ies. 

Even  more  unfortunate  was  the  collapse  of  Athenian  schemes 
in  449.  Salamis,  the  most  Hellenic  city  of  all,  interrupted  its 
line  of  Greek  kings  for  a  generation,  and  was  ruled  by  one  Ab- 
demon,  whose  name  is  Phoenician.  Kition,  on  the  other  hand, 
came  almost  at  once  under  a  new  and  active  king  Azbaal,  whose 
coins  show  the  lion  of  T>rian  Herakles  pulling  down  his  prey,  the 
defenceless  stag  of  Greek  .Artemis;  and  his  anne.xation  of  Idalion, 
which  but  recently  had  a  Greek-named  king,  Stasikypros,  doubled 
his  territcjry,  and  enabled  him  to  hold  the  eastern  and  western 
halves  of  the  island  apart.  .Xmathus,  another  Phoenician  state, 
was  also  exceptionalh'  prosperous.  I'hus  during  the  greatest  period 
of  Greek  art,  thi'  late  fifth  centur\',  C\prus  stood  apart  again, 
missing  )'et  another  chance  of  Helk'nism. 

Then,  almost  too  late,  in  411,  reaction  rather  than  renaissance 
came.  Evagoras  of  Salamis,  a  man  of  genius  and  strong  Hellenic 
feeling,  e.xpelled  the  alien  governors  of  his  birthplace,  and  so  used 

xxxix 


INIRODUCTION 

his  poM'tit)n  there,  that,  in  spite  of  Persian  hostilit\',  and  for  a 
while  with  Persian  fa\our,  he  held  most  of  the  other  cities,  b\' 
^()i,  in  free  leaj^ue  with  himself.  Only  the  double  kingdom  of 
Kition  and  Idalion  held  aloof,  with  Phoenician  Amathus,  and  one 
Greek  dissentient.  Soloi;  and  in  388-7  Kition  itself  fell  momentaril\' 
into  Cireek  hands.  Fhis,  however,  was  not  the  doing  of  Evagoras, 
but  of  an  Athenian  agent  Demonax,  who  was  supported  by  an  Athen- 
ian squadron,  and  struck  coins  with  .Athena's  image.  But  Athens 
in  the  fourth  centur\'  had  little  persistence  of  purpose.  The  ships 
were  wanted  elsewhere;  Kition  was  evacuated,  and  the  enemies 
of  F]\agoras.  seizing  their  opportunit\',  pressed  their  grievances 
on  the  Great  King,  and  procured  the  dissolution  of  Evagoras' 
league.  This  befell  in  380,  as  part  of  a  general  adjustment  of 
Cjreek  and  Persian  affairs,  and  the  \'ears  later,  Evagoras,  restricted 
now  t(^  Salamis,  and  beset  b\'  jealous  neighbours,  was  received  in 
allegiance  to  the  King.  His  assassination  in  374  hardl\-  touched  his 
work,  and  his  successors,  N'ikokles  and  Evagoras  II,  held  much  the 
same  position  in  the  island,  as  champions  of  Greek  freedom  and 
patrons  of  Greek  thought  and  art.  .An  otl'shoot  of  the  same 
Hellenism  even  took  root  in  T\re,  which  had  come  momentarih' 
under  the  hand  of  Evagoras,  and  had  to  mo\'e  with  the  times,  for 
business  reasons  too.  The  Hellenic  sarcophagi  (1366-1367)  are 
monuments  of  this  curious  phase.  Cautious  management,  e\en 
now,  might  ha\e  kept  the  island  out  of  trouble  till  the  Empire 
should  break  up,  as  all  Greeks  foresaw  that  it  must;  but  N'ikokles, 
misled  like  Eg\pt  and  'I\\re  b\-  the  false  dawn  of  the  "Satraps' 
Re\()lt,"  struck  too  soon,  and  lost  his  life  and  kingdom  in  361.  The 
disaster  was  the  greater,  because  the  new  king  of  Persia,  Artaxerxes 
ill,  was  the  only  quite  barbaric  member  of  his  great  d\nast\';  and 
he  kept  an  iron  heel  on  Salamis,  just  because  it  had  become  so 
Greek.  Ten  }ears  later,  on  some  suspicion,  Evagoras  H  was 
superseded,  too,  and  the  next  king,  Pnytagoras,  was  content  to 
be  a  Persian  vassal  till  .Alexander's  victories  freed  all  the  coast 
pro\-inces,  and  annihilated  Tyre.  Then  the  island  states  sent  wel- 
come supplies  of  timber  for  the  great  siege,  and  Pnytagoras,  time- 
serving still,  a  sword  of  (~\priote  steel. 

CiPKl';    LNDHR    PTOLH.MAIC   AND   RO.MAN    RULE 

Henceforward,  the  onlv  question  for  Cx'prus  was,  what  its  place 
should  be  within  a  Hellenized  world.  The  choice,  as  things  befell, 
was  between  S\  ria  and  Eg\pt  for  master,  much  as  in  tiie  seventh 

xl 


ANCIENT    CYPRUS    IN    HISTORY    AND    CULTURE 

and  sixth  centuries,  and  old  lines  of  cleavage  seem  to  ha\e  facilitated 
the  e\ent.  Kition  still  clung  to  a  Svrian  connection,  from  interest 
and  sentiment  alike,  and  tried  in  \ain  in  312  to  bring  this  about; 
but  Egvpt,  barren  of  timber,  poor  in  metals,  and  more  securely 
in  touch  with  the  Greek  West,  had  more  to  offer.  Besides,  in  the 
rough  partition  of  Alexander's  Empire,  the  immediate  embarrass- 
ments of  the  Syrian  kingdom  were  the  greater,  and  Ptolemy,  Lord 
of  Egypt,  had  the  crucial  advantage  of  sea-power.  So  Cyprus  fell 
to  Egypt,  and  shared  the  fortunes  of  that  exotic  and  expensive 
state  for  nearly  two  centuries  and  a  half.  Then  in  38  Egvpt's 
Roman  creditors  lost  patience,  and  Cyprus  was  ceded,  not  for  the 
last  time,  to  pay  part  of  its  master's  debts.  It  was  a  distressful 
island  that  M.  Cato  came  to  set  in  order  for  Rome.  The  mines, 
indeed,  were  working,  with  whatever  fuel  was  left;  but  forests  had 
been  mismanaged;  agriculture  was  mortgaged;  the  cities,  now  little 
more  than  urban  districts,  were  insolvent.  Only  the  temples 
prospered,  in  an  age  of  blind  disbelief  in  human  goodness,  and 
blinder  trust  in  anxthing,  high  or  low,  that  was,  at  all  events,  not 
man.  Paphos,  richest  of  them  all,  had  found  a  new  meaning  in 
its  Foam-born  Goddess,  and  drove  a  devil's  bargain  with  the 
Cilician  pirates;  at  all  events,  its  king  knew  too  much,  and  killed 
himself  rather  than  face  the  commissioner.  But  the  wealth,  even 
of  Paphos,  had  been  overestimated,  or  discounted  in  the  deal  with 
Egypt,  and  Roman  politicians,  whose  motives  were  none  of  the 
highest,  thought  justice  done  when  the}-  annexed  the  disenchanted 
island  to  the  other  ex-pirates  in  (2ilicia.  Of  its  distress  and  bank- 
ruptcy', Cicero's  letters  hcmie,  in  52,  gi\'e  us  glimpse  enough. 
Fortunatel}-,  the  civil  wars  of  Rome  passed  the  island  by,  and  on 
the  reorganization  of  the  Empire,  in  31  B.  C,  it  became  a  separate 
province,  and  was  reserved  for  Imperial  administration,  as  the  char- 
acter of  its  revenues  required,  and  the  Emperor's  need  for  a  post 
of  observation  towards  Egvpt  and  S\ria.  But  at  the  very  next 
readjustment,  in  22  B.  C,  Augustus  transferred  it  to  the  Senate. 
Its  political  \alue  to  himself  had  evidentl}'  been  overestimated: 
restored  prosperit\',  too,  made  it  easier  to  administer  for  revenue. 
Later,  it  certainl\'  seems  to  ha\e  been  rich,  and  had  the  fame  of 
being  able  to  build  and  fit  out  a  ship,  c(.)m[-»lete  from  keel  to  mast- 
head, from  its  own  resources  only.  (Jf  its  Roman  governors  none 
are  memorable;  an  inscriptifjn,  howexer,  exists  oi  that  Sergius 
Paulus  who  was  proconsul  in  4O  A.  D.,  when  the  island  was  \isiteti 
bv  St.  Paul. 

xli 


INTRODUCTION 

With  its  annexation  to  Ptolemaic  Hg\pt,  C>prus  lost  finally 
the  little  originalit\'  which  it  had  preserved  through  the  fourth 
cenlurw  Its  poor  attempts  in  sculpture  are  neither  better  nor 
worse  than  those  of  an\'  other  district  outside  the  old  centres 
of  Hellenism  and  the  new  cosmopolitan  capitals.  The  new  spirit 
of  Pergamene  realism  seems  to  ha\e  passed  it  by;  it  was  fortunatelx' 
neglected  likewise  by  the  arts  nouveaux  of  Alexandria  and  Antioch. 
The  remnants  of  its  old  village-worships  served  its  needs  better 
than  the  revi\ed  Oriental  cults  of  Isis  or  Adonis;  nor  is  any  trace 
known  there  of  the  religion  of  Alithra,  except  one  stra}'  amulet 
in  this  Collection.  Perhaps  it  is  on  this  ground  partly,  that  it 
accepted  Christianity  as  easily  and  as  earl>'  as  it  did.  When  that 
change  came,  we  ma\'  believe  that  it  came  suddenh':  otherwise 
it  would  be  difficult  to  explain  the  wholesale  desecration  of  its 
minor  sanctuaries,  to  which  we  owe  our  acquaintance  with  their 
contents. 

The  fortunes  of  the  island  in  mediaeval  and  modern  times  hardl}- 
concern  us  here.  With  the  adoption  of  Christianity,  the  rites 
of  burial  and  of  worship,  which  are  the  main  sources  of  our  ac- 
quaintance with  ancient  art,  became  so  greath'  simplified  that  they 
lose  their  value  for  archaeology.  No  period  in  C\-priote  history  is 
so  obscure  as  the  Byzantine  Age. 


SELECTED    BIBLIOGRAPHY 

ONLY  those  detailed  studies  of  individual  works  of  art  are 
I    noted  here  which  throw  light  also  on  the  more  general 
aspects  of  the  craft  or  industry  which  they  discuss.     All 
other   literature   should    be   sought    in    special   biblio- 
graphies; the  following  are  practically  complete  so  far  as  they  go. 

CoBHAM,  C.  D.     An  Attempt  at  a  Bibliography  of   Cyprus. 
First  edition    (152  titles),  octavo,  Nicosia,   1886. 
Fourth  edition    (728  titles),  octavo,  Nicosia,  1900. 
Fifth  edition    (860  titles),  in  Excerpta  Cypria,  quarto,  Cam- 
bridge (Eng.),  it)o8. 

.\1\RHS,  J.  L.  &  Ohnhf.alsch-Richter,  M.  a  Catalogue  of  the 
Cxprus  Museum;  with  a  Chronicle  of  Excavations  under- 
taken since  the  British  Occupation,  and  lntroductor\-  Notes 
on  (^N'priote  Archaeology.  (Bibliographx-  of  each  site  separ- 
atelx.)     Octavo,  Oxford,  1899. 

PHYSICAL  FEATURES 

LngiiR,  F.  (k  Kf)TSCHY,  T.      Die  Insel  C\pern,  oclaxo,  N'ienna,  i8()t. 
OBhRHLMMER,  E.      Die  Insel  C\pern;    eine  Landeskunde  auf  his- 

torischer  CJrundlage,  I.  (Bibliograph\-,  pp.  462  70.)     Octavo, 

Munich,    i()o^ 

BhLLAMv,  C.  V.  &  JtKfiS-BROwN,  A.  j.  The  CJe(jlog\-  of  C\prus 
octa\'o,    PKmouth,    i()o5. 

SITES,    MONUMENTS,   AND    I'XCAVA'llONS 

C^.ompare  the  "(Chronicle  of  l^xcnxal  idiis"  in  ihe  ('vprus  Museum 
C.atalotiue  (above)  and  the  news  frum  (;\prus  in  S.  Keinacli,  C.hroii- 
iques  d' Uncut,  1.11. 

xliii 


SELECTED    BIBLIOGRAPHY 

\  ogl'h,  Marquis  Dt.      (x)up  d'a'il  sur  les  monuments  de  Chyprc 

et  de  Rhodes.     (Les  Hglises  de  la   lerre  Sainte,  pp.  376-389.) 

Quarto,  Paris,  iSOo. 
l-\)uilles  de  (^.h\pre  el  de  Sxrie,   exirails  des  lettres  a   MM. 

Renan  et  .\.  de  I.ongperier.       (l^evue  .Archeologique  N.   S., 

No.  \'l,  p.  244.)     Octavo,   Paris,    \H()2. 

ChSNOLA,  L.   P.  Di.     .Antiquites  chvpriotes  provenant  des  fouilles 

faites  en  i8()8  par  M.  di  Cx^snola.      (Sale  catalogue;    25-261!! 

.March,   1870;    388  lots.)     Octavo,  Paris,   1870. 
C\prus:   its  ancient   Cities,    Tombs,  and  Temples,  octavo, 

London,   1877. 
C\pern      .      .      .      autorisirte  deutsche    Bearbeitung,   von 

Ludwig  Stern,  ro\al  octavo,  Jena,  1879  and  1881. 
For  other  publications  of  the  Cesnola  Collection  see  below,  p.  99. 

PiHRiDHS,  D.  Collection  importante  de  vases  antiques,  bijoux, 
terres  cuites,  pro\-enant  de  fouilles  faites  dans  I'ile  de  Chypre 
par  y\.  O.  Pierides.  261  lots.  (Sale  Catalogue.)  Octavo, 
Paris,    1873. 

Lanc;,  R.  H.  Narrati\e  of  Excavations  in  a  Temple  at  Dali 
(Idalion)  in  Cyprus.  (Tr.  R.  Soc.  Literature,  2d  series,  XL 
part    1.)     Octavo,   London,    1878. 

CT:sN()LA,  .\lex.  p.  di.  The  Lawrence-Cesnola  Collection.  Cvprus 
antiquities  exca\'ated  b\'  A.  P.  di  Cesnola,  1870-79,  quarto, 
London,    1881. 

Salaminia.^     The     Histor\-,     Treasures,    and    .Antiquities     of 

Salamis,  in  the  Isle  of  Cyprus,  octavo,  London,   1882. 

Salaminia.      Italian  translation,  quarto,  Turin,   1887. 

Ohnhfalsch-Richter,  M.  Von  den  neuesten  .\usgrabungen  in  der 
c\prischen  Salamis.  (.Vlitth.  des  .\rch.  Inst.  \'I.)  Octa\o, 
Athens,    1881. 

DuH.M.MLER,  F.  .Aelteste  Nekropolen  auf  C}-pern.  (.Mitth.  des 
Arch.  Inst.  XL)     Octavo,  Athens,  1886. 

Hi;r.\iann,  Pall.  Das  Griiberfeld  \on  .Marion  auf  Cxpern. 
(W'inckelmann's  Programm,   1888.)  Quarto,   Berlin,   1888. 

Gardner,  F.  .\..  Hogarth,  D.  C,  Ja.mes,  .\L  R.,  Flsey  S.mith,  R. 
Fxcaxations  in  (^\  prus  in  1887-8.  (Paphos,  Leontari,  .Amar- 
getti.)  (Journalof  HellenicStudies,  IX.)  Octa\o,  London,  1888. 

Hogarth,  D.  G.     Devia  C\  pria,  octavo,  Oxford,  1889. 

xliv 


SliLHCTHD    BIBLIOGRAPHY 

Mlnro,  J.  A.  R.,  and  Tlbbs,  H.  A.  ExLa\ations  in  C",\  prus  in 
1889.  Polis  tis  Chrxsochou,  Limniti.  (Journal  of  Hellenic 
Studies,  XI.)     Octavo,  London,  1890. 

Excavations  in  C\prus,    1890.       Salamis.     (J.  H.  S.   XII.) 

Ro\'al  octavo,   London,    1891. 

.NU'NRO,  J.  A.  R.  Exca\ations  in  (L\prus.  Third  season's  work. 
Polis  tis  Chr\sochou.     (J.  H.  S.  Xll.)   Octavo,  London,  1891. 

O.ASTiLLON  Saint-Victor,  Vicomtb  E.  dh.  Les  Eouilles  de  Cait- 
ium.  (Extraits  des  Missions  Scientific^ues,  X\'l  1.)  Octa\o, 
Paris,   1 89 1. 

i^EiNACH,  S.  C^hroniques  d'Oricnt.  (Eouilles  et  decou\ertes  a 
Ch\pre  depuis  I'occupation  anglaise.)  Reprint  of  papers  in 
Rex'ue  Archeologique,  octavo,  Paris,    1891. 

.\lvRHS,  J.  L.  Exca\ations  in  (Lxprus  in  1894.  (J.  H.  S.  X\'1I.) 
Octavo,   London,    1897. 

OHNbKALscH-RicHTER,  AL  Neues  iiber  die  in  C\pern  .  .  . 
angestellten  Ausgrabungen.  (Zeitschrift  fur  Ethnologie,  1899, 
\'erh.  d.  Bcrl.  Anthr.  Ges.  pp.  33-78;  298-401;  the  onl\- 
report,  hitherto,  of  excaxations  conducted  b\-  him  on  behalf 
of  various  public  bodies  in  Germanx.)  Octa\(j,  Berlin, 
1899. 

Mlrray,  a.  S.,  Smith,  A.  H.,  Walters,  H.  W.  Excavations  in 
Cxprus,  folio,   London,    1900. 

[■',\ANS,  A.  J.  .M\'cenaean  (Aprus,  as  illustrated  in  the  British 
.Museum  Excaxations.  (Jour,  .\nthrop.  Inst.  XXX.) 
Octavo,  London,  1900. 

Pori.si:N,  I".  Zur  Zeithestimmung  der  Enkomi-funde.  fjahrb.  d. 
.Arch.  Inst.,  XX\'l,  pp.  2  1 3-248.)     Ouarto,  Berlin,  i()ii. 

Zahn,  R.  Der  angebliche  Raucheraltarplal/.  der  .-\phrodile  in 
Paphos.  (A  brief  authoritati\e  report  of  disco\'eries  and  ex- 
cavations on  behalf  of  the  Berlin  .\cadeni\  ,  of  which  exag- 
gerated reports  had  appeared  in  se\eral  newspapers)  Berl. 
Philol.  W'ochenschrifl,   14  l\-b..  101  i.     Ouarld.  Berlin,  i()ii. 

ANGiEN  r  lIls^oR^•,  cLi.riRi-,  and  ar  r  in  gi:ni:ral 

.\li:iK'-ns,  J.     Oela,  CAprus,  Rhodus.  c|uarto,  .Xnisterdam,  !<')7S. 

En(.i  I,,  W.  II.  K\'pros;  eine  .MonografMne,  2  vols.,  octaxo,  Ik'rlin, 
1841 . 

xh 


s  i;  1.  i:c:  1 1:  d   b  i  b  liog  r  a  buy 

I'l  KKOT,  Ci..  cV  (jni'n;z,  C.      Histoire  de  I'art  dans  I'antiquite,  III, 

I'henicic,  C"di\pro,  o^taxo,  Paris.  \HHy. 
[l-'nglish  translation].  ocla\(),  London,  i(S85. 

lloiwHRDA,  .\.  E.  J.  nic  alten  K\  prior  in  Kunst  und  Cultus, 
octaxo,    l.exden,    1S85. 

Dlh.m.mli-k.  I'\  Bcnierkunfi;cn  zum  iiltesten  Kunsthandwerk  auf 
grioL-hischcn  l^oden,  II,  der  k\-prischc  gcometrische  Stil, 
octavo,  Halle,  1888. 

Ohnhfalsch-Richti-r,  -M.  K\pros,  the  Bible,  and  Homer.  (Ger- 
man and  English  editions.)  2  vols.,  quarto,  Berlin  and  Lon- 
don,   i8c)3. 

Johnston,  C.  The  Marburg  Collection  of  C\'priote  .Antiquities. 
(Jour,  of  .A.mer.  Or.  Soc.  XXII,  p.  18.)    Octavo,  Boston,  iQoi. 

Hill,  G.  F.  Catalogue  of  the  Greek  Coins  of  C\prus.  (British 
.Museum  Catalogue,  with  historical  introduction.)  Octavo, 
London,   1904. 

Lighten BHRG,  R.  Fr.  von.  Beitriige  zur  iiltesten  Geschichte  von 
K\pros.  (.Mitth.  X'orderasiat.  Ges.  xi,  pp.  125-202.)  Octaxo, 
Berlin,   1906. 

Hogarth,  D.  G.     Ionia  and  the  East,  octavo,  Oxford,  1907. 

RiDDHR,  .A.  DE.  Collection  de  Clercq,  V,  Lcs  .-Xntiquitc's  chy- 
priotes.  (Historical  introduction,  sculpture,  terracottas, 
\ases.)  Quarto,   Paris,    1908. 

DissAiD,  R.  Les  Ci\ilisations  pre-helleniques.  (Ch.  iv  deals 
with  the  Bronze  .\ge  in  Cyprus.)     Octavo,  Paris,  1910. 

.Mvres,  J.  L.  Cxprus.  (.Article  in  Enc\'clopaedia  Britannica, 
nth  edition.)     Quarto,  Cambridge  (Eng.),   1910. 

PoLLSEN,  F.  Der  Orient  und  die  frijh-griechische  Kunst,  octavo, 
Leipzig,    1912. 

CULTS  .AND  S.ANCTU.ARIES 

Hall,  I.  H.     A  Temple  of  Zeus  Labranios  in  Cvprus.      (Proc.  .\m. 

Or.  Soc.  at  New  Haven,  October,  1883.)    Octavo,  New  York, 

1883. 
Enmann,    .a.       K\pros   und    der   Ursprung   des   Aphrodite-kultus. 

(.Mem.  .Acad.  Imp.  Sciences  ,\T  I,  X.XXIV,   13.)    Quarto,  St. 

Petersburg,    1886. 

xl\  i 


SELEClF.n    BIBLIOGRAPHY 

James,  M.  R.  Paphos.  (jour.  Hell.  Studies  XI.)  Octavo, 
London,    1890. 

Ohnek.alsch-Richter,  M.  Die  antiken  Cultusstattcn  auf  Kypros, 
quarto,   Berlin,    1891. 

Reinach,  S.  .ApoUon  Opaon  a  Chypre.  (Revue  des  Etudes 
Cirecques,  II,  pp.  226-233.)     Octavo,  Paris,  1889. 

POTTERY 

Sandwith,  T.  B.  Styles  of  Potterx'  found  in  Ancient  Tombs  in 
Cyprus.  (Archaeologia  xlv,  pp.  127-143.)  Quarto,  London, 
1880. 

Froehner,  W.  Catalogue  illustre  dc  la  collection  de  M.  Albert 
Barre  .  .  .  poterie  et  \erres  chxpriotes,  quarto,  Paris, 
1878. 

PoTTiER,  E.  Catalogue  des  vases  antiques  de  terre-cuitc  du 
Louvre.     (C^.hxpre,  pp.  82-118.)     Duodecimo,  Paris,   1896. 

— • —  Vases  antiques  du  Louxre.  (Ch\pre,  pp.  5-10.)  Quarto, 
Paris,  1897. 

Nicole,  G.  Catalogues  des  vases  chypriotes  des  Musees  de  Con- 
stantinople ct  d'.Athenes  fBull.  de  I' Inst.  Genevois,  xxxvii), 
octa\-o,  Genexa,   1906. 

Walters,  H.  B.  Catalogue  of  the  Greek  and  Etruscan  Vases  in 
the  British  .Museum,  1,  part  i.  (Cxpriote  \'ases:  C.  1-1049.) 
Octavo,  London,  191 2. 

SCULPTURE 

Vir)Ai--LABLAc;in-..  Statuette  chxpriote  du  .Musee  d'.Xthenes. 
(Rev.  Arch.  N.  S.  xix,  p.  341),  octa\-o,  Paris,  i8()9. 

Lenor.mant,  \- .  Statues  iconiciues  du  Temple  d'Athienau.  (C/az. 
Arch,  iv,  p.    192.)    Quarto,   Paris,    1S78. 

Ohm  EALscH-RicHiE-R,  .\1.  Iki'ligthum  xon  .Ajiollo  bei  \'oni. 
(.Mitth.  des  Arch.  Inst.  Alhen.  ix,  pp.  127  \}().)  Octaxo, 
Athens.   iS,S4. 

.M  i-KKLAM,  .\.  C.  Gerxon  in  (Aprus.  (Classical  Studies  in  honour 
of  II.   Drisler,  pp.  204   217.)      ()cla\d,   New  ^'ork,   iS()4. 

(Afiriole  1  lea(.is   in    1  lie    Melropolitan    .Museum,    New  York. 

(Am.  Jour.  Arch.  \iii,  pp.  \X.\    i!^<).)    Octaxo,  Princeton,  tS()4. 

xl\  ii 


Sll.lXri  1  I)    BlBl.lOCiRAI'HY 

DiDNNA,  W.     Ia's  Apolldiis  archaiqui's,  cjuarto,  (^jcnc\'a,    1909. 

.M  \KKinis.  M.  A  Marble  Head  from  C\prus.  (Jour.  Hell. 
Studies     .     .     .     xwiii.  pji.  qS-c).)    ()cta\'o,  London,   191 3. 

TERRACOITAS 

Hhi  zi-.^",  1.,     C.atalogue   des    figurines    anticjues    dc  terre-euite  du 

!.ou\re,  1   (din  pre,  pp.  114-203),  duodecimo,  Paris,  1S82. 
1  .es  ligurines  antiques  de  terre-euite  du  Lou\Te,  folio,  Paris, 

\\'ai/i  i-.R^.  II.  B.  C^atalogue  of  the  "Fcrracottas  of  the  British 
.Museum.      ((]\priis:  .\.  i-qOiS.)     Quarto,  London,  1903. 

W'tNihK,  1'.  Die  'I"\pen  der  figurlichen  Terracotten,  quarto, 
Stuttgart.   190V 

DtoNNA.  W.  La  Staluaire  ceramique  a  (Lh\pre,  octa\'o,  Gene\a, 
i()o8. 

LA. MPS 

Dt-oNNA,  W.  Les  Lampes  anticjues  de  Delos.  fBull.  Corresp. 
Hell,  wxii,  pp.  I33-I7():  the  onl\-  recent  attempt  to  classily 
l\pes.)     Ucta\"o.  .Athens,  190S. 

GOLD  ORNA.MEXTS 

(^ESN(^LA.  .\.  P.  1)1.  On  Specimens  of  .Ancient  G<ildsmiths'  .Art 
found  in  (Cyprus.     Octaxo,  1883. 

FoNTENAV,  E.     Les  Biioux  anciens  et  modernes,  Paris,  1887. 

Nalh.  j.  L'ne  Pkuiue  en  or  m\ce'nienne  decouxerte  a  ("dixprc. 
(Rew  Arch,  xwi,  p.  333.)     Octa\'o,  Paris,   i8()7. 

HAnAC/i  K,  K.  Der  Ohrschmuck  der  Griechen  und  Etrusker. 
f.Abh.  .\rch-Epigr.  Seminar  d.  L'ni\'.  W'iens,  xi\',  1.)  Octa\'o, 
\'ienna.    190^. 

Poi.i.AK,  L.  Klassische-antike  Gjoldschmiede-arbeit  im  Besitze 
Sr.  l-.xc.  .A.  J.  xon  Xelidow.  ijuarto,  Leipzig,  i()0V 

AL\K--HAi.i.,  b.  II.  (Catalogue  of  the  Finger-rings  in  the  British 
.Museum.    Greek,    Etruscan,    and    Roman,    quarto,    Londi)n, 

(Catalogue   of    the  jewelrx'  in    the    British  .Museum.  Gjreek, 

I-lruscan,  and  Roman,  quarto,  London,  1911. 

xl\  iii 


SELECTED    BIBLIOGRAPHY 

ScHAFER,  H.  Aegyptische  Goldschmiedearbcitcn.  (K.  Muscen 
zu  Berlin:  Mitth.  aus  d.  Aeg\pt.  Sammlung,  I.)  Quarto, 
Berlin,  191  o. 

ScHREiBER,  G.  T.  Die  alexandrinische  Toreutik.  (Abh.  d.  k. 
sachs.  Ges.  d.  Wiss.  [phil-hist.  Kk]  xiv,  pp.  271,  479.) 
Leipzig,  1894. 

ENGRAVED  STONES 

Sayce,  a.  H.  The  Bab\lonian  Cylinders  found  b\-  General  di 
Cesnola  in  the  Treasurx'  of  the  Temple  of  Curium.  (Trans. 
See.  Bibl.  Arch,  v,  part  2,  pp.  441-44.)  Octavo,  London,  1H77. 

Menant,  J.  Recherches  sur  la  glx'ptiquc  orientale,  2  vols.,  octavo, 
Paris,  ICS83-6. 

CoNZE,  A.  Siegelring  aus  Cypern.  (.Arch.  Zeit.  xlii,  p.  166.) 
Quarto,   Berlin,    1884. 

Bezold,  C.  Fund  auf  C\pern.  (Zeit.  f.  Keilinschrift,  ii,  p.  191.) 
Octavo,  Leipzig,   1885. 

S.MiTH,  .\.  H.  (Catalogue  of  Engraved  Gems  in  the  British  .Mu- 
seum, octa\'o,  London,    1888. 

Babelon,  E.  (Catalogue  des  came'es  antiques  et  modernes  de  la 
Bibliotheque  nationale,  2  \o!s.,  octaxo,  Paris,  1897. 

Fi'K  rwANOLhR,  .\.  Die  antike  Gemmen;  Geschichte  der  Stein- 
schneidekunst  im  klassischen  Alterlhum,  5  \ols.,  cjuarto, 
Berlin,    1900. 

1:NGRA\LD   SllAl-.R    BOWLS 

Cli-.r.mon  i-GANNEAr,  C  S.  Etudes  d'archeologie  orientale; 
L'Imagerie  phenicienne.  1.  La  (^oupe  phenicienne  de  Pales- 
trina,  octa\o,   Paris,    i(S,S(). 

.Maroi  AM),    .\.      .\    Siher    Patera    from    Kourion.      (.\m.    Jour. 

Arch.  iii.  pp.  322-5^7.)     Octa\o,  IjosIop,   iSS«S. 
An    .\rchaic   Patera    from    Kourion.      (Am.    Jour.    .\rch.    i\', 

pj).    |0()    171.)      Octa\().   Pxislon,    iSSS. 
.\  Phoenician     liowl    in    ihe   .Met  ropdhlaii    .Museum.      (,\m. 

Jour.  ,\rch.  \ii,  pp.  19  24.)      Oclaxo,  P)i)sl()n,  i.S()i. 

Bi^'-iN(.,  k.  \oN.  bine  Pironze-schaK'  m\  keni^ther  Zeil.  (Jahrb. 
d.  Arch.  Inst,  xiii,  pp.  2H-5(),)     (juarl<i,  Berlin,  i8()8. 


SF.L  F.  Cri ;  D    B I  B  I.  IOC>  R  A  PH^' 

.Marsmai.i..  I'.  H.  Aeg\•pli^cll  odcr  phoenikisch?  (Jahrb.  d.  Arch. 
Inst.  x.w".  pp.  i()^-i()()\  ciuarti),  Berlin,  it)io. 

Stii-)MC7k  A,  V.  Her  Ronnwagcn  ini  s\  risch-phoenikischen 
Cicbict.  (Jahrb.  d.  Arch.  Inst,  xxii,  pp.  147-196.)  Quarto, 
Berhn,   njoy. 

P(.)llsi-;n,  I'.  Dor  Orient  und  die  fruhyriechisehe  Kunst,  octaN'o, 
Leipzig,    1912. 

BRONZE   AND    IRON   OBJECTS 

Undsi;t,  1.  Ein  kxprisehes  Eisensehwert,  octavo,  Christiania, 
1 886. 

W'althrs,  H.  B.  (Catalogue  of  Ikonzcs  in  the  British  .Museum. 
(C\prus,  earl\'  bronzes,  Nos.  49-114.)  Octa\o,  London, 
1899. 

Fl  RFw  anglhr,  .a.  Leber  ein  auf  C\pern  gefundenes  Bronzegerat. 
(Sitzb.  d.  k.  ba\T.  .\kad.  d.  W'iss.  [phil-hist.  Kl.]  ii,  pp.  411- 
33.)     Octavo,  .Munich,  1900. 

N'ALt.,  J.  \'or-romische  Schwerter  aus  Kupfer  und  Bronze,  2  vols., 
ciuarto,  .Munich,   1903. 

.\hRhs,  J.  L.  On  the  Sig\nnae  of  Herodotus.  (In  .Anthrop. 
I".ssa\s  for  E.  B.  Tylor,  pp.  255-277.)  Quarto,  Oxford, 
1907. 

,\  Tomb  of  the  P^arl\-  Iron  .-Xgc  from  Kition  in  C\prus  (Liver- 
pool .\nnals  of  .\rch.  and  .\nthrop.,  iii,  pp.  107-117.)  Octavo, 
Li\erpooI,    1910. 

.A  T\pe  of  Fibula  of  the  Earl\'  Iron  .\ge,  apparentlx'  peculiar 

to  Cyprus.      (Liw  A.  A.  A.  iii,  pp.   138  IT.)     Octavo,   Liver- 
pool,  1910. 

.\  C\priote   Fibula  of  the  Earbc  Iron  .-\ge,  now  in  the  .-\sh- 

molcan  .Museum.     (Liv.  .\.  .-\.  .A.  \',  pp.    129-131.)    Octavo, 
Li\erpool,  1913. 

GLASS 

Frohhnhr,  W.      Catalogue  illustre  de  la  collection  de  .\L  .Albert 

Barre;    poterie  et  verres  ch\priotes,  tjuarto,  Paris,   1878. 
Collection  J.  Crcau;   \'ente,  quarto,  Paris,   1891. 

KiSA,  A.      Das  Glas  im  .Altertume,  3  vols.,  octavo,  Leipzig,  1908. 

1 


SELECTED    BIBLIOGRAPHY 

INSCRIPTIONS:   PHOENICIAN 

Saulcy,  F.  C.  Di;.  Sur  deux  inscriptions  pheniciennes  de  Citium, 
octavo,  Paris,  1845. 

RoEDiGER,  E.  Leber  drei  in  Cypern  gefundene  phonizische  In- 
schriften.     (Hellenika,  I,  2,  pp.  118-121.)    Quarto,  Halle,  1846. 

Vogue,  Comte  de.  Inscriptions  pheniciennes  de  Tile  de  Ch\pre. 
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Six  inscriptions  pheniciennes  d'ldalion.     (Jour.  Asiat.  VII, 

serie,  t.  V.)     Paris,   1875. 

Schroeder,  p.  Die  phonizische  Sprachc.  (Inschriften  aus 
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Renan,  E.  Notice  sur  huit  fragments  de  pateres  en  bronze  por- 
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Corpus  Inscriptionlm  Semiticarum,  Pars  I,  Tom.  I,  Cap.  II, 
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quarto,  Paris,   1881. 

EuTiNG,  JuLiLs.  Zwei  bilingue  Inschriften  aus  Tamassos.  (Sit- 
zungsber.  d.  Berl.  .-\kad.  d.  Wiss.  IX  und  XXV,  1887.)  Quarto, 
Berlin,   1887. 

Berger,  Ph.  .Memoire  sur  deux  nouvelles  inscriptions  pheni- 
ciennes de  I'ile  de  Ch\'pre.  (C^omptes  rcndus  de  I'.Academie 
des  Inscr.  et  B.  L.,  p.  187.)     Quarto,  Paris,  1887. 

.Memoire     sur     une    inscription    phenicienne    de    Larnaka. 

(.Acad,  des  Inscr.  et  B.  L.,  Nov  17  et  Dec.  16,  1883.)  Quarto, 
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INSCRIPTIONS:  C  Y I^  R I  OF  E 

Vogue,  Comti:  .Mi-i.chior  de.  Inscriptions  chypriotcs  inetiites. 
(Journal  .Xsiaticiue,  .\I,  no.  4^)     Paris,  uSOS. 

.Melanges     d'archeologie     orientale.       Recueil    de    .Memoires 

sur  les  inscrijnions  et  la  numismatique  phe'nicienne,  clnp- 
riote,  (Sec,  octaves,  Paris,   iSCx). 

Di-.RENBOUK(;,  J.  Les  Nouxelles  Inscriptions  de  Ch\pre  trouvees 
par  ,\L  de  N'ogiie.  (Jtjurnal  .Asi;!!  ic|ue,  X,  p.  479.)  Paris, 
1867. 

S.MiTH,  Ci.  On  the  Rt'ading  of  the  C\priote  Inscripti(jns.  (Trans. 
Soc.  P)ibl.  Arch,   I,  pp.   129    144.)    Octavo,  London,   1872. 

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5.  B.  A.  I.  p.  ii().)      ()ela\-o,  London,  1872. 

Birch,  S.  The  Reading  of  the  (^xpriote  Tablet  of  Dali,  with  text. 
(Tr.  S.  B.  .\.  I.  pt.  2.)     Octavo,  London,  1872. 

Br.wdis,  L  \  ersuch  zur  Lntzifferung  der  kx'prischen  Schrift. 
(Examined  h\'  .Moriz  Schmidt  in  the  Jenaer  Literaturzeitung, 
Jahr  1874,  Artikel  85.)     Octavo,  Berh"n,   1873. 

DHtcKL,  W.  AND  SitGis.MLND,  J.  Die  wichtigsten  kxprischen  In- 
schriften  umschrieben  und  erUiutert.     (In  Curtius'  Studien. 

6,  \'1L  PP-  217-264.)    Octa\-o,  Leipzig,  1874. 

Tho.M5F:N,  W.  De  k\'priske  Indskrifter,  octavo,  Kopenhagen, 
1874-76. 

ScH.MiDT,  .\L  Leber  kyprischc  Inschriften.  (.Monatsberichte  der 
k.  \k.  der  Wissenschaften  in  Berlin,  1874,  pp.  614-615.) 
Octa\-o,   Berlin,    1874. 

Die     Inschrift    \'on    Idalion    und    das    kxprische    S>'llabar, 

octa\'o,  Jena,  1874. 

Sammlung  k\prischer  Inschriften  in  epichorischer    Schrift. 

folio,  Jena,  1876. 

Meyer,  G.  Zu  den  k\prischen  Inschriften.  (Xeue  Jahrb.  f. 
Philologie,  CXI,  pp.  733-777-)     Octax'o,  Leipzig,  1875. 

Hall,    Isaac   H.      The    Cvpriote    Inscriptions  of  the  di  Cesnola 
Collection.   (J.  .\m.  Or.  Soc,  X.)  Octavo,  New  Haven,  1873 
The  C\'priote  Inscriptions,  octavo,  .\lban\',  1873. 

Notes  on  Cypriote  Inscriptions.      (Tr.  S.  B.  .A.  \'l,  pt.   1.) 

Octavo,   London,    1878. 

.^HRFNS,  H.  L.  Kxprische  Inschriften.  (Philol.  XXX\',  pp. 
1-102  and  XXXN'L  PP-  1-3'-)     Octa\o,  Gottingen,  1876. 

SiEGisMUND,  Jlstls.  Kxprischc  Inschriften.  (G.  Curtius'  Stu- 
dien, IX.)     Octavo,  Leipzig,  1877. 

Deecke,  W'ilhel.m.      Der  Ursprung  d.   k\prischen  Sxibenschrift; 

eine  palaographische  L'ntersuchung,  octavo,  Strasburg,  1877. 
■ Die     griechisch-kxprischen      Inschriften     in      epichorischer 

Schrift.       (CoUitz,      Sammlung     der     Dialekt-Inschriften.) 

Octaxo,  Gottingen,  1883. 

Neubalhr,  R.  Der  angebliche  Aphrodite-tcmpel  zu  Golgoi  und 
die  daselbst    gefundenen    Inschriften   in   k\  prischer  Schrift. 

Hi 


SELECTED    BIBLIOGRAPHY 

(Commentationcs  philologicae  in  honorcm  Iheod.  Mommseni, 
pp.  673-693.)     Quarto,  Berlin,   \Hj-j. 

Kyprische  Inschriften.  (Hermes,  XI II,  p.  557.)  Octavo, 
Berlin,   1878. 

En.mann,  a.  On  the  Origin  of  the  C\priotc  S\ilabar\\  (Tr.  S.  B. 
.-\.  no.  XXXVlll,  pp.  1 1 3-1  19.)     Octavo,  London,  1883. 

HoFtMAN'x,  Otto.  Neue  Lesungsvorschlagc  zu  den  k\prischcn 
Inschriften.  (Bcitriige  z.  Kunde  d.  indogerm.  Sprachcn, 
XIV,  pp.  266-298.)     Octavo,  Gottingen,    1889. 

Die     griechischen      Dialekte.     I.     Bd.     Der    sudachiiischc 

Dialekt.  (Cvprus  Inscriptions,  pp.  35-75,  104-106,  Grammar, 
129-326.)     Octavo,  Gottingen,  1891. 

.Mhisthr,  R.  Die  griechischen  Dialekte.  (11,  Eleisch,  Arkadisch. 
K\'prisch.)     Octavo,  Gottingen,    1889. 

Kxprischc  Inschriften.     (Verb,  der  k.  sachs.   Ges.   d.   Wiss. 

[Phil.  hist.  Kl.]  LXII  —  (1910)  viii.  (No.  1868  of  this  Hand- 
hook  is  figured  on  PI.   1.)  Octavo,  Leipzig,    1910. 

Kyprische   Inschriften.     (Verb.  Ixiii,  (1911)  ii  =  No.  1858.) 

Octavo,   Leipzig,    191 1 . 
Zwci  k\prische  Inschriften  im  Ashmolean    Museum.   (Sitzb. 

k.  prcuss.  .\kad.  \ii,  pp.   166-9.)     Quarto,  Berlin,   191  i. 

V'hNDRVHs,  J.  Inscriptions  Cbxpriotes  du  Louvre.  (.Mem.  Soc* 
Linguistique  de  Paris,  xviii,  pp.  271  tT.)     Octavo,  Paris,  1913. 

INSGRIPTIONS:  GREEK 

BohCKH,  .\.  (^.orpus  Inscriptionum  Graecarum.  ((^.\prus,  11,  pp. 
436-447,  nos.  26i3-2()t2.)      I'olio,  Berlin,   1843. 

PihRiDhs,  D.  Inscriptions  greccjues  inediles  de  I'ile  de  C^bx'pre. 
(Re\-.  Arch.  N.  S.  June  and  julv,  i86().)  Octavo,  Paris, 
1866. 

OBi:i<iirMMi-,K,  1-^.  Griechische  Inschriften  aus  (^\pern.  (Sitzber. 
d.  k.  ha\er.  .\kad.  Wiss.  5  .Mai,  i8,S,S.)  Octa\-o,  .Munich, 
i88(). 

l)i-,AL  DoriN,  .\L,  AND  P()T'iii-.K,  l'..  1  nscripl ioiis  ch \pri()tes.  (Bull, 
(^orresp.  Hell.  Ill,  pp.  347-  352.)  ()cla\o,  Paris  and  .\thens, 
iS()7. 

1  NscKii'i  i()M>  Gkai.caI'.  ad  ki>  Romanas  1' 1  k  1 1  n  i-.ni  i>.  (Cyprus, 
111,  jip.   354-56S,  nos.  ()2i)  <)97.)     Octavo,  Pans,   i()o4. 

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PLBLICAIIONS  REFER R INC'.    10  THE  CESNOLA 
a)LLEC:TI()N' 

Chsnola,  L.  p.  ui.  Antiquiu's  ch\prit)tes  pro\cnant  des  fouilles 
faitcs  en  iS68  jnir  M.  di  Ca'snola.  (Sale  catalogue:  25-26th 
March  iSjo;  388  lots.)     Octavo,  Paris,  1870. 

Cxprus;    its  ancient   Cities,     Tombs    and    Temples,  octavo, 

London,  1877. 

Colon NA-Ci;cc;.\LDi,  G.  Les  Decouvertes  do  Golgos.  (Revue 
Archeologique,  Dec.  1871,  Oct.  1872,  Jan.  1873.)  Octavo, 
Paris. 

Lang.R.  H.  Pes  Decou\ertes  de  Golgos.  (Revue  .\rcheologique, 
.Ma\-,  1872.)     Octa\o,  Paris,  L872. 

CoL\iN,  S.  and  Thompson,  S.  The  Antiquities  of  C\-prus,  discovered 
(principall\'  on  the  sites  of  the  ancient  Golgoi  and  Idalium) 
photographed  b\"  Stephen  Thompson,  with  an  intro- 
duction b>'  Sidne\-  Colvin,  folio,  London,  1873. 

DoBLL,  J.  Die  Sammlung  Cesnola.  (Alemoires  de  I'.-Xcademie 
de  S.  Petersbourg,  Vll,  ser.  XIX,  no.  4,  1873.)  Quarto,  St. 
Petersburg,  1873. 

Trustees  of  the  Metropolitan  Mlseu.m  of  Art,  Report  of  the, 
Ma\-,  1873,  duodecimo.  New  York,  1873.  (.-\cceptance  of  the 
collection  b>'  the  Museum.) 

Newton,  Sir  C.  T.  Researches  in  C\prus  (a  re\iew  of  Cesnola's 
work,  reprinted  in  Essax's  on  Art  and  Archaeolog}-,  pp.  303- 
320),  octavo,  London,   1880. 

Colonna-Ceccaldi,  G.  Monuments  antiques  de  O.prc,  de 
S\  rie,  et  d'Egxpte.  (Reprints  of  papers  in  Re\ue  .Archeolo- 
gique, 1873,  1875,  1879,  and  other  material.)  Octa\o,  Paris, 
1882. 

Cook,  Clarence.  Transformations  and  .Migrations  of  certain 
Statues  in  the  (.esnola  Collection,  octavo.  New  York,  1882. 

Fi;lardent,  G.  L.  x'ersus  L.  P.  di  (T-.snola.  Testimonv'  of  the 
Defendant,  printed  for  the  Plaintiff,  New  "\'ork,  1884. 

Repertoril  .M  ei'r  KiNSTwissENSCHAi-T,  \'1I  Band,  3  Heft,  1884 
L'Art,  Paris,  Jan.   i,   1885. 

Stillman,  W.  J.  Report  on  the  Cesnola  Collection,  New  York, 
1885. 

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Hall,  I.  H.  A  Descriptive  Atlas  of  the  Cesnola  Collection  of 
Cypriote  Antiquities  in  the  Metropolitan  Museum  of  Art, 
New  York,  3  vols.,  folio:  vol.  I,  Boston,  1885;  vol.  11,  New 
York,  1894;   vol.  Ill,  New  York,  1903. 

The  Athenaeum,  London,  No.  3155,  April  14,  1888. 

Ohnefalsch-Richter,  M.  New  York  Herald,  May  16,  1893. 
New  York  Times,  May  16,  1893. 

RovERsi,  Lligi.  L.  Palma  di  Cesnola  e  il  Metropolitan  Museum, 
octavo,  New  York,  1898. 

Massarini,  Tullo.  Cipro,  antica  e  moderna,  e  il  Generale  L.  P. 
di  Cesnola,  Roma,  1899. 

Reinach,  S.  L.  p.  di  Cesnola.  (Revue  Archeologique,  IV, 
Serie,  t.  V.  p.  301.)     Octavo,  Paris,  1905. 


Iv 


THE  COLEFCTION  OF 
POFTERY 


THE  COLLECTION  OF  POTTERY 

PRELIMINARY    NOTE    ON    FABRICS    AND    STYLES 

VESSELS  of  day,  and  fragments  of  them,  are  b\'  far  the 
commonest  objects  of  antiquity,  in  Cyprus  as  elsewhere. 
Thev  are  also  by  far  the  most  important,  for  it  is  b\-  their 
means  mainly  that  the  succession  of  periods  and  st)les  has 
been  determined,  and  a  framework  of  knowledge  constructed  into 
which  other  classes  of  information  may  be  fitted. 

1  he  reasons  for  this  importance  of  ancient  potter}-  are  simple  and 
obvious.  Just  because  earthenware  once  broken  is  so  completely 
useless,  it  is  almost  certain  to  be  left  where  it  lay  when  it  broke  and 
passed  out  of  use;  at  most,  it  is  swept  out  of  the  way,  and  cast  out 
onto  the  nearest  rubbish  heap;  and  once  safely  deposited  on  the 
surface  of  the  existing  rubbish  heap,  and  covered  up  in  its  turn  b\- 
the  next  week's  sweepings,  the  chances  are  that  it  is  never  disturbed 
again.  An  ancient  rubbish  heap,  therefore,  is  one  of  the  securest 
records  of  the  change  of  fashion  and  the  succession  of  st\  les;  the 
earlier  I>ing  beneath  the  later,  from  the  bottom  to  the  top  of  the 
heap. 

Secondl\-,  since  potter\-  is  more  fragile,  and  at  the  same  time  in 
the  commonest  use,  it  follows  thai  such  broken  potterx'  accumulates 
more  rapidl\'  than  almost  an\'  other  kind  of  rubbish.  It  is  also 
almost  indestructible,  whereas  wood,  leather,  textiles,  and  even 
the  useful  metals,  copper  and  iron,  are  liid^le  to  deca\'.  On  ancient 
-iites,  therefore,  potterv  comes  to  form  a  larger  proportion  of  the 
rubbish  that  endures,  even  than  it  formed  at  first.  It  follows  that 
an  even  larger  share  of  our  actual  knowledge  about  ancient  industr\- 
comes  to  us  from  theslud\  of  the  potter}'  than  from  an}  other  single 
art  or  craft. 

3 


THF.    r.OLLnr.TlON    OF    POTTHRY 

PtUtorv,  tliirdh',  supplies  niucli  indirect  evidence  about  the  other 
arts  of  the  time.  I'he  "  potter's  power  o\  er  the  cki>"  is  proverbial: 
he  can  mould  it  to  rejtresent  what  he  will;  and  a  \ery  large  number 
of  cla\-  vessels  owe  their  interest,  as  well  as  much  of  their  beaut}-, 
to  their  imitation  of  basketr\',  wood-wcuk,  metal-work,  and  the 
natural  lorms  of  plants  and  animals,  or  \essels  made  from  fruits  or 
skins.  With  these  cla\-  models  of  furniture  in  the  precious  metals, 
the  poor  man  can  share  the  pleasures  which  these  things  bring  to 
the  rich;  and  it  is  with  the  same  cla\'  substitutes,  worthless  in 
themsehes,  that  the  archaeologist  reconstructs  the  \anished  baskets, 
textiles,  and  table-ser\  ices  of  gold  and  siher  plate,  which  were 
either  too  perishable  to  last,  or  too  \aluable  to  escape  theft  or 
destruction. 

Hitherto  we  have  been  dealing  with  the  broken  pottery  which 
is  found  round  the  dwellings  of  the  li\  ing.  But  in  C}prus  b}'  far 
the  greater  part  of  the  ancient  potter}  is  obtained  from  the  tombs. 
It  is  a  widespread  custotn  among  primitive  peoples — and  it 
persists  in  the  Mediterranean  throughout  classical  antiquit}' — to 
pro\  ide  the  dead  with  all  things  needful  for  the  journe}'  to  the 
"other  world,"  and  for  an  existence  there  on  the  same  scale  of  com- 
fort and  dignit}'  as  the}-  enjo}  ed  when  they  were  alive.  It  w-as  not 
indeed  essential  to  the  deceased  that  this  et]uipment  should  be 
represented  in  its  proper  materials,  and  probabl}-  it  was  desirable 
that  it  should  he  as  nearl\-  as  possible  imperishable;  it  was  also 
certainl}-  to  the  interest  of  the  survixors  that  it  should  be  inexpen- 
sive; and,  for  the  double  reason  of  cheapness  and  durabilit}-,  cla}- 
models  of  furniture,  shields,  dcjinestic  animals,  and  even  of  human 
escort,  were  in  use,  at  all  periods,  as  substitutes  for  the  realities. 
It  follows  from  this  that  the  potter}-  which  is  found  in  the  tombs  of 
an  ancient  people  is  of  peculiar  \-alue  as  an  unintentional  inventor}- 
of  their  material  cixilization. 

Further,  as  the  same  fabrics  of  potter}-  were  usuall}-  placed  in 
the  tombs  as  were  in  dail}-  use  among  the  people  who  put  theni 
there,  it  is  possible,  b\-  comparing  the  tomb-potter\-  with  the  series 
of  potter}-  from  inhabited  sites,  to  determine  the  relative  ages  of 
tombs;  and  consequentl}-  to  obtain  a  date  for  objects  in  other 
materials,  which  happen  to  forn-i  part  of  the  same  "tomb-group" 
as  the  sexeral  fabrics  of  potter}-.  As  a  "tomb-group,"  representing 
a  single  funeral,  necessaril}-  consists  of  objects  which  were  buried 
at  one  and  the  same  time,  and  were  customarily  (and  apart  from 
heirlooms)  all  of  the  current  fashion,  such  evidence  that  dilTerent 


PRELIMINARY    NOTE 

classes  of  objects  were  contemporary  is  very  strong.  The  only 
doubt  which  can  attend  archaeological  datings  of  this  kind,  arises 
from  the  chance  that  the  same  burial-chamber  may  have  been 
used  more  than  once,  like  a  family  vault;  or,  worse  still,  that  later 
grave-diggers  may  have  re-opened  an  ancient  tomb,  b}-  accident 
or  on  purpose.  In  crowded  cemeteries,  such  as  those  of  the  old 
Cypriote  cities,  this  happened,  in  fact,  frequentl}',  and  at  one  time 
caused  much  confusion  in  archaeology.  Later  and  more  war)- 
excavators,  however,  have  usually  had  no  diflficult}'  in  distinguishing 
these  "secondary  bu  rial  s"fromtheoriginal  equipment  of  thechamber, 
which  is  found  either  scattered  by  the  intruders,  or  buried  beneath 
a  layer  of  "tomb-earth,"  deposited  in  the  interval,  in  such  en- 
quiries, everything  depends  on  the  care  with  which  the  chamber 
is  explored,  and  on  accurate  record  of  the  precise  position  of 
each  object. 

THE    TOMBS    OF    CYPRUS 

Ihe  burial  customs  of  ancient  C\prus  should  be  described  briefly 
at  this  point.  In  principle  they  are  rcmarkabl}'  uniform,  from  the 
earliest  times  to  the  first  Christian  centuries.  As  in  most  Mediter- 
ranean lands,  the  bodies  were  buried,  not  burned;  a  very  few  urns 
containing  ashes  have  been  recorded,  however,  from  cemeteries 
of  mixed  late  tombs.  A  few  of  the  Ner}'  earliest  tombs  are  simple 
pits,  sunk  a  short  distance  into  the  rock,  and  these  perhaps  pre- 
suppose an  earlier  phase;  but  hitherto  there  is  no  certain  record 
of  those  shallow  earthen  "cist-graves,"  with  the  body  in  contracted 
posture,  which  are  the  primitive  tombs  of  Eg\pt,  Greece,  and  most 
other  parts  of  the  Mediterranean  coasts.  The  \ast  majorit}'  of 
the  Bronze  Age  tombs,  however,  are  artificial  caverns,  cut  in  the 
soft  limestone  as  near  the  surface  as  was  consistent  with  the  safety 
of  the  roof,  and  approached  through  a  narrow  square  doorway 
from  a  shaft,  which  forms  a  vertical  pit,  or  else  a  long  narrow  cutting 
or  dromos  which  descends  oblicjuelx',  with  inclined  floor  or  rough 
rock-staircase.  The  doorwa\'  of  an  undisturbed  tomb  is  alwa\s 
found  carefully  closed  by  a  single  slab  of  stone,  set  on  edge  and  kept 
in  position  h\'  the  earth  with  which  the  shaft  was  filled.  The  tomb 
itself  varies  in  size  from  a  chamber  harcil\-  large  enough  to  hold  a 
single  crouching  bod\',  to  a  rcjom  some  six  or  eight  feet  scjuare,  and 
five  feet  high;  large  enough,  that  is,  to  allow  a  bod\-  to  be  laid  at 
full   length  along  each  of  its  three  blank  walls.      In   the   Bronze 

5 


THi;    COLLECTION    OF    POTTERY 

Age  the  tonihs  are  of  rounded  outline,  both  in  plan  and  in  elevation, 
and  sometimes  haveoneor  more  rounded  niches  cut  quite  irregularly 
in  the  sides.  Rectangular  chambers  and  flat  ceilings  belong  as  a 
rule  to  the  Iron  Age;  these  tombs  also  ma\'  ha\e  one  or  more  mches 
or  side-chambers.  Occasionalh  the  doorway,  or  the  inside  of  the 
chamber,  is  enriched  with  car\  ing;  and  there  are  a  few  examples 
of  hinged  doors  to  facilitate  repeated  use  of  a  famil\-  burial-place. 
Karelw  a  chamber  is  lined  with  masonrx',  or  built  up  with  regular 
walls,  and  a  roof  of  large  slabs,  in  an  open  pit  which  was  afterwards 
tilled  in.  B\-  far  the  finest  and  largest  of  these  "built  tombs"  is 
the  monument  near  Salamis  known  as  Agia  Katarina,  "St.  Catha- 
rine's Prison";  it  has  a  barrel-\aulted  roof,  and  a  side  chamber 
roofed  with  a  single  slab.  The  monument  near  Larnaca,  known 
as  Agia  Phaneromeni  (the  "Annunciation  Chapel")  is  of  much, 
rougher  work,  and  uncertain  date.  Other  fine  "built  tombs," 
belonging  to  the  Hellenic  period,  have  been  opened  at  Larnaca 
(Kition)  and  Amathus;  some  b\'  Ccsnola,  others  by  the  British 
.Museum,  and  b\'  nati\e  diggers.  Similar  tombs  are  known  at 
Sidon,  and  t)ther  sites  on  the  S\  rian  coast.  The  mcgalithic  build- 
ing near  Larnaca  known  as  Khalat-i-Sultana  Tekke,  venerated  b>' 
.Moslems  as  the  "Tomb  of  Umm  Haram,"  a  lad\'  of  the  Prophet's 
kindred,  is  probablv  an  early  "built  tomb."  It  consists  of  great 
wall-slabs  set  on  edge,  to  support  a  single  roof-block,  which  seems 
to  ha\e  been  originalh'  le\el  with  the  soil,  or  covered  b\'  a  low- 
mound  of  earth.  It  should  be  compared  with  the  megalithic 
"cromlechs"  of  se\eral  parts  of  S\ria. 

In  chamber-tombs,  except  the  earliest,  the  bodies  were  laid  out 
upon  the  ground,  along  the  side  walls,  and  sometimes  along  the 
back  wall  too.  Sometimes  a  low  couch  was  left  in  the  solid  rock, 
a  foot  or  less  aboxe  the  floor;  less  commonl}',  the  bodies  la\'  on  long 
slabs  of  stone.  In  the  sixth  centurx',  stone  coffins  or  sarcophagi 
came  into  use,  at  first  four-square  on  low  feet,  with  gable  roofs. 
\'er\'  rarel\-,  these  sarcophagi  were  richl\-  carved  (1364)  and  painted 
(1365);  later,  in  the  fifth  and  fourth  centuries,  mummy-shaped, 
with  a  human  face  and  upturned  feet  carved  on  the  lid  (1366-7);  and 
later  still,  plain  rectangular  cotlins  of  stone  come  into  use  again, 
this  time  with  flat  lid,  or  a  mere  co\'ering  slab.  Man\'  tombs  of 
the  Hellenistic  and  Graeco-Roman  periods  contain  nails,  corner- 
plates,  locks,  hinges,  and  other  metal  fittings:  these  seem  to  belong 
to  wooden  coffins,  which  were  probabl\-  cheaper  than  stone  ones. 
The  great  sarcophagi  were  used  to  contain  whole  families  in  turn; 

6 


PRELIMINARY    NOTE 

one  such,  at  Amathus,  of  the  later  fifth  centur\-,  contained  not  less 
than  a  dozen  persons. 

The  bodies  were  buried  in  their  ordinarx'  clothes,  with  such 
jewelr\'  and  other  ornaments  as  the  sur\ivors  could  afford;  together 
with  mirrors  and  other  toilet  implements;  armour,  weapons,  and 
official  staves;  and  man\'  other  objects  of  use  and  luxurx'.  Food 
and  drink  were  not  forgotten.  Wine  jars  are  common;  a  tomb  at 
Amathus  contained  a  bowl  of  eggs  and  the  remains  of  a  fowl,  now 
in  the  British  Museum;  and  another  at  Kition  contained  a  regular 
dinncr-scr\ice  laid  out  on  a  stone  slab  along  the  back  wall  of  the 
chamber,  with  the  wine  jars  standing  in  the  corners;  this  set  is 
now  in  the  Ashmolean  .Museum  at  Oxford.  Mowers  and  garlands, 
such  as  were  common  in  Hellenistic  Hg\pt,  were  laid  in  the  tombs — 
the  best  example  is  of  the  fifth  centur\',  at  Amathus-  but  in  the 
moister  climate  of  Cvprus  the\'  ha\e  almost  ahva\s  perished. 
Sometimes  in  rich  tombs  their  place  was  taken  b}'  wreaths  of  gold 
foil. 

THE    PRINCIPAL    FABRICS    OF    CYPRIOTE    POTTERY 

The  account  alread\'  gi\en  of  the  general  histor\'  of  cixilization 
in  (Aprus,  has  indicated  its  principal  periods  antl  turning-points. 
'I'hese  periods  themselves,  as  we  ha\e  seen,  ha\e  been  mainl\' 
determined  through  exidence  supplied  b\'  successixe  fabrics  of 
potterx';  and  we  ha\e  now  to  see,  more  in  detail,  what  was  the  course 
of  dexelopment  of  the  potter's  art  itself. 

The  principal  fabrics  of  (Cypriote  potter\  ma\'  be  classified  in 
the  following  order  of  dexelopment.  1  his  order  diilers  in  detail 
from  the  purel\-  technological  grouping  which  was  adopted  in  the 
Cx'prus  .Museum  (Catalogue  of  i8()C),  because  it  is  now  possible  to 
determine,  rather  mcjre  precisely  th;in  then,  the  limits  of  date  within 
which  each  fabric  was  in  vogue,  and  the  extent  to  which  ditferent 
fabrics  oxerhip.  Ikit  there  has  been  no  occasion  to  amend  the 
classification  itself;  and  for  conxenience  the  reference  number  of 
each  fabric,  in  the  C^xprus  .Museum  arrangemeiil ,  is  added  within 
parentheses.  1  he  W  all-(  lases  ol  tliefA-snola  (Collection  are  iiuli- 
cjted  in  the  margin  hv  .Arabic  numerals,  and  the  floor-Cases  b\ 
Roman  numerals. 


THH    COLLIfCTION    OF    POTTERY 


HANDBOOK 


?"/ 


WALL- 
CASKS  I,  2, 
■       3,    ETC. 

bRONZE  Aoh.  ^  CASES  1,11, 

I.     Early    Phriod,   about   30()o-20()o   B.   C.  ^''^'^■ 

Pabric  i.  Polished  Red  Ware; 

(a)  Simple  forms  and  ornaments  (II, a)       i  ff.  i 

(b)  More  elaborate,  passing  on  into 

Period  11  (11,  h.c.) 32  ff.  2-3 

Selected  examples  of  large  size.     .     .        61-76  1 

(c)  Special   fabrics,   passing   on    into 

Period  II 77  ff.  3 

II.     MiDDi.F.  Period,  about  2000-1500  B.  C. 
Fabric   i.   degenerates,   and  disappears 

\vholl\  in  Period  III. 
Fabric  ii.     Red  and  Black  Slip  Wares, 

(1,  2)  superseding   Fabric   i.     .     .     .       1 5 1  ff.  4 

Fabric  iii.   White  Painted  Ware  (I  I,  1.2.) 

(a)  Standard  fabric,  dull  paint  (II,  1)      173  tT, 

(b)  Polished  with  lustrous  paint  (11,2)      268  ff 

(c)  Late    and    contaminated    fabrics      274  ff 
Fa«bric  i\-.     Black  Slip  Ware  with  Red 

Paint  (II,  3)        280 

III.     Late  Period,  about  1500- 1200  B.  C. 

Fabrics  ii,  iii  degenerate  and  disappear: 
Fabric  iii  is  replaced  b_\'  I'abric  xii. 
Fabric  v.     White  Slip  Ware  (I  I,  4)   . 

Selected  examples 300  ff 

Fabric  \i.      Base-Ring  Ware.     (I,  3)    . 

(a)  Simple  forms,  without  ornament  . 

(b)  Painted  \-arietics  (I,  3c)     .     .     . 

(c)  L'npainted,    ornament    in    relief 
(I,    3a)   or   incised    (I,    3b)     .     . 

Fabric  \  ii.  Wheelmade  Red  Ware  (1,8) 
Fabric  \iii.  Black  Punctured  Ware  f I,  5) 
Fabric  ix.  Coarse  White  Wares  (I,  4)  • 
Fabric  x.        C\  priote  Handmade  Buc- 

chero  (I,  7),  (superseded  later  by  xiii) 
Fabric  xi.      .\l_\cenaean  Ware  (II,  5)     . 

Selected  examples,  north  side  of  III. 

8 


281  ff. 

8 

300  ff. 

II 

318  ff. 

0 

321  ff. 

9 

327  ff. 

10 

360  ff. 

I  I 

383  ff. 

1 1 

386  ff. 

1 1 

304  ff. 

I  I 

417  ff. 

12 

435  ff. 

III 

WALL 

CASES  I,  2, 

IIAXDHOOK 

3.   ETC. 

XUMIiER 

ELOOR- 

CASESI,  II, 

ETC. 

400  fF. 

12 

45^  ff. 

III 

PRELIMINARY    NOTE 


Fabric  xii.  C\pro-Mycenaean  Imita- 
tions of  M\cenaean  Ware.  (11,5)  . 
Selected  examples,  south  side  of  1 1 1   . 

Early  Iron  Age. 
IV.     Early    Period,     Transllional     fro.m 
Bronze  to  Iron,  about  1200-1000  B.  C. 
Fabrics  v-xi  disappear:  all   potter}',  ex- 
cept fantastic  vases,  is  now  wheelmade. 
Fabric   xii,    C}'pro-Mycenaean,    gradu- 
al!}'passes  into  Fabric  xvi 14^15 

Fabric  xiii.     Cypriote  Wheelmade  Buc- 

chero:  (supersedes  Fabric  x)     .     .     .      461  ff.  13 

Fabric  xiv.     Red   Bucchero: 

(supersedes  Fabric  vii) 47'  ff-  '3 

V.     Middle    Period,    Geometrical,  with 

iron  weapons  and  abstract   art, 

about  1000-750  B.  C. 

Fabrics  xiii-xv.  Cypriote  Bucchero 
Fabrics  (including  the  Grey  Fabric 
xv)  flourish  and  disappear    ....      493  fT.  13 

Fabric  xvi.  White  Painted  Ware  now 
full}'  established;  geometrical  decora- 
tion in  zones  or  panels;  black  and 
red    paint;  concentric    circles    drawn  16-19 

with  compasses 501-664     IV,  V 

Fabric  xvii.      Red  Painted  Ware  (super-  24-26 

seding  the  Red   Bucchero  labricxix)      801  ff.        VIII- 

VI.     Later     Pi-riod,     Grai  co-Phoi  nician; 

oriental   INl-UHNCl-S  CO.MI'l/IINd  WITH 

wEsiERx;  about  750-500  B.  i]. 

Fabrics  xvi-x\ii   pass  into   new  forms,       665  ff.        20-22 
with  curvilinear  and  pictorial  designs  VI,  VII 

Hi  LLl-.MC    Af'.E. 

\'1I.      Early  or  IIitt.i-.mc  Pi  kiod,  about  500- 
300  B.  C. 

9 


WALL 

CASES  I,  2, 

HANDBOOK 

3.  ETC. 

NUMBER 

FLOOR- 

CASES  I.  II 

ETC. 

776    ff. 

23-2^ 

936   ff. 

2: 

Jllll    COLLECTION    OF    POTTERY 


Fabric  xvi  ciegenerates   rapidly   both 
in   form    ami    in    painted    ornament. 
l-~abric  x\  ii,  tlie  "standard  variety", 
is   \vh()ll\-   replaced   b\'   discoloured 
imitations 

\'I11.     .Middle  or  Hellenistic  Period,  about 
300-50  B.  C. 
The  native  styles  of  pottery  are  almost 

wholl}'  replaced  b\'  imitations  of  forms 

from  other  parts  of  the  Greek  world.        959  ff.  76 

IX.     L.\te;  or  Graeco-I^oman  Period,  about 
30  B.  O400  ,\.  D. 
Potter\-  gi\es  place  in  the  tombs  almost 

wholh'  to  vessels  of  blown  glass;  the 

onh'  sur\ivals   are  lamps,  red-glazed 

"Samian"  jugs,  and  so  called    "tear- 
bottles,"  often    very  numerous,    but 

of  ubiquitous  fabrics 9S1  ff.  76 

This  period  passes  o\'er  gradually  into 

the  Bwantine  Age:  about  400-1200 

A.  D.  " 


POITERY  OF  THF  BRONZF  AGE 

WALL-CASES    I-I2,   AND  FLOOR-CASES   I,   II,   III 

1.    EARLY   BRONZE  AGE:  ABOUT  3000-2000  B.  C. 
FABRIC    I.       RED    POLISHED    WARE 

THIS  is  the  onl\-  class  of  potter)'  which  occurs  in  the  earhest 
tombs  in  Cxprus.  It  represents  the  primitive  industr\-  of 
the  island,  and  its  high  technical  quality  suggests  that  the 
potter's  art  was  introduced  abruptly  from  some  well- 
established  centre,  probably  in  Asia  Minor  or  North  S\ria;  the  pro- 
cesses of  the  manufacture  being  identical  with  those  of  the  adjacent 
mainland  and  of  primiti\'e  Eg\pt,  while  the  actual  forms  of  the  vessels 
are  indigenous,  and  for  the  most  part  peculiar  to  (^\prus.  All  the 
vessels  of  this  fabric  are  built  b\'  hand,  without  an\'  use  of  the  potter's 
wheel.  The  cla\'  is  of  rather  coarse  texture,  originall\-  brown  or 
nearl)'  black,  but  turning  to  a  bright  red  when  thor(jughl\'  fired.  The 
fine  polish  was  produced  by  rubbing  the  surface  with  a  pebble  or  a 
large  tooth;  and  to  secure  a  better  result  the  \ases  were  usuall\' 
smeared  with  a  finer  cla\'  containing  much  iron  (^.xide,  or  were  e\en 
dipped  in  a  cream  or  "slip"  of  such  cla\- mixed  with  water.  The 
great  majoritx  of  the  \ases  are  <:f  "stamlard  fabric  "  (labric  1,  A), 
in  which  great  care  is  taken  to  preserxe  the  fine  red  colour  of  this 
surface  slip;  but  accidental  delects  suggested  other  fabrics  in  which 
the  slip  is  either  parlialK'  or  wliolh'  black  (babric  1.  1)),  or  replaced 
b\-  an  inferior  brown  or  mud-colour  (labric  I,  (^). 


\\a 
Cas 


lABKIC:   I,    A.        SlANOARl)   lABRIC:      RID    I'OLISIllJJ 
(a)    SI.MI'l.l.ST   l-ORMS  AND  ORNAMI  \'l  S    l-^I      . 

The  forms  of  this  fabric  are  ver\'  simjile,  and  are  mostl\'  derived 
from  the  natural  shapes  of  gourds,  which  :\rv  si  ill  in  common  use 
in  the  island  lor  bowls  and  boltles;  the  conmioni'st  are  open  bowls, 
often  \er\'  large  and  deep,  globular  bollles  with  narrow  neck  and 

I  I 


THH    COLLIX.TION    OI-    POTTERY 


\\'all 
Case 


one  uprifiht  handle,  and  iwo-handled  amithorai  with  wider  neck. 
All  iheso,  like  their  g(Hird  protolxpes,  are  usuall\'  convex  below, 
or  e\en  pointed  so  that  the\'  cannot  stand  upright;  at  best  they 
are  ver\'  slightlx'  llattened,  or  furnished  like  cooking  pots  with 
three  or  four  shc^rt  legs;  a  \er\  few,  like  17,  18,  19,  ha\e  the  bowl 
supported  t)n  a  columnar  foot,  but  a  regular  base-ring  or  flat  bottom 
is  not  in  use.  I'here  are  also  composite  and  fantastic  \ases,  imi- 
tating basketr\-  or  leather  work,  or  the  forms  of  beasts  and  birds; 
these  are  exhibited  separately  in  Wall-Case  2. 

I'he  ornament  of  these  simplest  forms  is  itself  also  simple.  It 
consists,  as  \et.  onl\'  of 

(a)  a  few  straight  or  wav\'  lines  incised  in  the  soft  cla\'  before  firing 

and  made  more  conspicuous  on  the  red  ground  b\'  a  filling 
of  white  chalk. 

(b)  small  rolls,  bands,  or  discs  of  cla\-,  applied  'to  the  surface  and 

co\  ered  b\-  the  polished  slip:  compare  61,  6(),  71,  72,  73,  74 
in  lloor-Case  1.  These  relief-ornaments  include  discs  and 
crescents,  perhaps  for  sun  and  moon;  snakes  (73),  c]uadrupeds, 
and  trees,  and  also  parts  of  the  bod\',  as  if  the  potter  had 
caught  a  grotesque  human  likeness  in  his  work,  and  accent- 
uated it  b\'  adding  e\ebrows  (()c)),  nose,  breasts  (74),  and  locks 
of  hair  (O9,  72)  or  necklaces  (Oc),  73). 

I,  2.  l.ARGh  Bowls,  showing  t\pical  gourd-forms,  and  also  the 
manner  in  which  one  or  more  spouts  and  handles  are  added. 
rhe\'  were  probabl\-  designed  for  dair\'  work,  and  the  low  posi- 
tion of  the  spouts  suggests  that  the\'  were  used  to  separate 
cream  or  curds,  or  to  refine  oil.  Compare  ()i-()8  in  Floor-Case 
I.  Us.  I  3;  in.,  15,',;  in.         Cyprus,  p.  95  (i). 

3,  4.  DhEiM-R  Bowls,  smaller  and  more  globular,  with  one  or 
more  handles  set  vcrticall\'  at  the  rim.  The  horn-like  pro- 
jection on  the  handle  of  4  is  design- 
ed as  a  thumb-hold  to  secure  the 
\'essel  while  pouring  out  licjuid. 
Hs.  7I  in.,  (Sg  in. 

1 1,  790,  804. 

5,  6,  7.  Cjlobllar  Bottlls,  with  nar- 
row neck  and  angular  handle  de- 
signed in  imitation  of  the  neck  and 
wooden  handle  of  a  gourd-bottle. 
The    peculiar  form  of   the  handle 

12 


EARLY    BRONZE    AGE.       FABRIC    I 

(better  shown  in  the  large  bottles  72-73  in  Floor-Case  1,  and  Wail 
in  83-7  in  Wall-Case  3)  imitates  a  handle  made  of  pieces  of  bent  ^^^^ 
wood,  inserted  in  the  neck  and  shoulder  of  a 
gourd  bottle.  Broken  examples  of  such  pot- 
tcr\'  usuall}-  show  that  the  potter  has  imi- 
tated not  onl\-  the  external  form,  but  the 
actual  process  employed  by  the  gourd-bottle 
maker;  for  he  has  simpl\-  forced  the  roll  of 
c!a\'  which  forms  the  handle  through  a  hole 
in  the  side,  and  covered  the  junction  cxtcrn- 
all\-  with  soft  clay.  Hs.  12  f'",!  in.,  84  in., 

7, '.in.  '  11,808(7).  7 

8-30.  Bowls,  Cups,  and  Ladles,  of  smaller  size  and  very  various 
forms.  1  he  ceries  8,  9,  10  shows  the  dc\'elopment  of  the 
chief  forms  of  spout:  first  (8)  a  mere  projection  on  the  rim 
of  the  bowl;  then  (q)  an  open  trough  in  the  rim  itself;  then 
(10)  a  tubular  spout  issuing  below  the  rim  through  the  side  of 


the  bowl,  often  \X'r\'  low  down.  Other  bowls  sliov\-  a  \ariety 
of  handles;  mere  knobs  or  string-holes  (11,  12,  n,  14,  17,  18, 

19,  21,  22,  23),  or  regular  loops,  set  either  horizontalh'  <  13,  16, 

20,  24,  23,  2(),  28)  or  verlicall\'  (27,  29,  30).  The  deri\ation 
from  a  wocxlcn  pattern  is  clear  in  i(),  2(>,  and  still  clearer 
in  30,  where  the  crossbar,  useful  enough  to  stiffen  an  elastic 
loop,  is  functionless  in  the  chi\  copy.  The  handles  are  often 
nimuToiis,  and  other  aLJditions  such  as  small  horns  (22,  24, 
23,  2(>)  or  miniature  bowls  perched  on  the  rim  (20)  or  bird-like 
faces  modelled  on  the  handle  (27,  2S)  betra\'  at  this  earliest 
stage  a  jila)  ful  and  fantastic  touch  which  the  (^xpriote  potter 
has  newr  wholl}' lost.  I)s.  11!  in. —  2|',iin.  11,793  (13). 

l)esides  the  gourd-forms,  which  r:ipi(,ll\'  bec(jme  various  and  relined, 

'3 


Tin;    COI.LHCTION    OF    POriERY 

nian\'  \  ases  aj^ipcar  lo  imitalc  \csscls  of  leather  or  basket-work, 
siuh  as  are  in  use  among  nian\'  primitive  peoples.  And  from 
imitating  \  essels  of  skin,  it  was  no  great  step  to  copy  living  animals. 
(Composite  \  essels  are  freciuent  and  often  \er_\'  ingeniously'  designed. 
1  he  ornament,  both  ineised  ami  in  relief,  becomes  more  profuse 
and  leads  on  to  the  rich  basketrx-ornament  of  77-98,  in  Wall-Case  3. 

31-^^  l.AR(.r.  Ori-N  Bowls,  with  projections  and  notches  on  the 
rim,  and  lich  ornaments  of  bands  and  lozenges  filled  with 
incised  lines;  52  has  miniature  bowls  perched  on  the  rim. 
Ds.   \2l  in.,  ()f'i  in.,   loj  in.         C\prus,  PI.  \'ll  (31). 

11,743  (3>). 

34-37.  "  Bhak-si  oitld"  BoTiLHS,  with  long  narrow  upright  jug- 
handle  neck  and  trough-shaped  lip,  closel}-  imitated  from  the 
()hliquel\-cut  neck  of  a  gourd-bottle.  Such  Schnahelkannen 
are  still  made  commonly  from  gourds  in  Cyprus.  36-37  have 
also  a  long  tubular  spout  projecting  in  front  of  the  body. 
Hs.  6§  in. — 5i  in.  11,  792  (36). 


3(S.  Narrow-m-cki-I)  Botti_[;,  like  5,  (),  7,  in  W'ail-C^ase  1,  but 
furnished  with  a  tubular  spout,  like  that  of  3()-37.  H.  62 

in.  11,  849. 

39.     Clm^  with  vertical  handle  and  small  spout.     H.  3.}  in. 

4(j-43.  l)fLHi>  Bowi.'-,  WITH  Tubular  Spouts.  The\'  have  one 
handle,  on  the  side  remote  from  the  spout.  40-41  are  of 
normal  Cxpriote  fabric,  but  the  punctured  dots  in  the  ornament 
of  41   are  a  mark  of  early  date:  compare  75  in  Idoor-Case  I. 

14 


EARLY    BRONZE    AGE.       FABRIC    I 

Two  examples,  42,  43,  seem  to  be  influenced  by  the  forms  and  \\'all 
ornament  of  the  Early  Minoan  Age  in  Crete  and  the  Greek 
Islands,  3000-2000  B.  C.  The  distinct  neck  and  well-defined 
trough  spout  of  43  are  espcciall\-  notable,  and  the  light  colour 
of  43  ma\'  also  result  from  an  attempt  to  cop\'  the  pale  cla>s 
of  Crete.  A  photograph  is  placed  by  these  vases  to  show 
Early  Minoan  vessels  of  similar  form  from  Knossos.  (Compare 
also  the  \'ases  from  Ciournia,  Nos.  07.232.15  and  07.232.18  in 
the  Room  of  Prehistoric  Greek  Art  in  the  Museum.  Hs. 
6|  in. — 3nrin.  11,841,822    (42,  43). 

44-53.  Eantastic  Vases,  more  or  less  closely  imitating  vessels 
of  skin.  Sometimes  the  form  is  simph'  that  of  a  leather  bag 
with   its  strap-handle   (44),  seams,   and  over-sewn   rim   (45); 


or  the  whole  body  and  legs  of  an  animal  are  shown  (46),  with 
a  trough  spout  in  place  of  the  head,  as  in  a  wine-skin.      Then 


j*^'*'"'^^-- 


5? 

the  head  itself  is  added  (47),  and  the  actual  spout  is  set  on  one 
side  of  the  bod}  ;  or  ihe  general  effect  is  birtl-like  (4(),  48,  4(),  51, 
52),  with  e\en  the  outline  of  the  wings  shown  b\-  relief  orna- 

15 


Wall 
Case 


54. 


Floor 
Case 


THH    (.OLLi;CTION    OF    POTTHRY 

mont  (4(),  ti).  With  these  askoid*  or  zoomorphicf  vases 
should  be  compared  the  small  animal-figures  57-60.  The  oval 
box  s^  with  Hat  reetangular  lid,  is  another  instance  of  skeuo- 
morphicj  imitation:  it  represents  a  basket,  with  its  lid  designed 
lo  be  tied  on  with  string.  Compare  the  larger  example  76 
in  I'loor-C^ase  I.  l.s.  q.l  in. — 5I  in.      Cxprus,   PI.  \'I1    (cf. 

4S\  PI.  IX  UO).  IP  820,  741,  S2S,  8^9,  826,  842,  843,  823 

(44-46,  48,  49,  51-53). 

TT.  t().  Co.mi'Ositf  \'ases,  consisting  of  a  number  of  small 
bowls  united  hv  a  single  handle:  perhaps  intended  as  cruets. 
Compare  the  fantastic  forms  229-234,  2^4  of  \\  hite  Painted 
Ware  in  Wall-Cases  6-7.  Hs.  3  I'V  in.,  3  1  ;1  in.,  7  in.  C_\prus, 
PI.  IX  (^4),  p.4()(),  25  (55). 

57-6(\  Imcu  RHs  OF  .\ni.m.\ls,  modelled  solid,  and  more  propcrh' 
classed  as  terracottas.  57  appears  to  be  a  wild  boar;  58-60 
are  fantastic.  Such  figures  are  common  in  tombs  of  all 
later  periods,  but  rare  in  the  earliest.  Compare  the  primi- 
tive human   figures  in   the  (Collection  of  Terracottas  2001-3, 

Ls.  5I  in. — 2  I'V  in. 

In  the  earliest  tombs  of  the  Bronze  .Age,  the  \-ases  are  often  of 
ver_\'  large  size  and  fine  workmanship,  but  after  the  introduction 
of  other  fabrics  in  the  .Middle  Period  these  masterpieces  do  not 
appear.  The  forms  of  these  large  \'ases  (examples  of  which,  01-76, 
are  exhibited  in  F'loor-Case  1)  follow  txpes  alread}'  familiar 
in  Wall-Cases  i  and  2;  the  ornament  is  usuallx'  simple,  and  more 
commonh'  in  relief  than  incised. 


61-68.  .Mu.K  Bowls,  deep  or  shallow,  some  with  spouts,  either 
tubular  (()i,  ()2,  Uj)  or  trough-shaped  ((14,  00,  08).  Ds. 
18  in. — 7s    in.  11,   780,   779,   785,    784,  807  (O1-64,  00). 

*Greek  "shaped  like  a  w  ine-skin":      T"shaped  like  an  animal"  :     ^"shaped 
like  an  ariicle  ol'  dail_\'  use." 

16 


EARLY    BRONZE    AGE.       FABRIC    I 

69,  70,  71.  Two-handled  Amphorai,  with  high,  wide  neck  and  Floor 
handles  set  either  horizontally  (69)  or  \ertically  (71)  or  one  i '^^^ 
vertically  and  one  horizontally  (70).  69 
shows  e\'ebrows,  a  necklace,  and  long 
locks  of  hair  in  relief;  71  has  snakes  and 
other  relief  ornaments,  and  also  a  group 
of  small  vases  and  other  objects  perch- 
ed on  the  shoulder.  Note  also  in  71  the 
rare  use  of  a  small  circular  punch,  prob- 
ably cut  from  a  reed  or  large  straw; 
compare  97  in  Wall-Case  3.  Hs.  132^ 
in.,  i8i'V  in.,  19I  in.  Doell,  xvi,  2, 
2172  (71).  C\-prus,  PI.  IX,  (69,  71),  p. 
406  (71).  71 

72-75.  One-handled  Bottles  with  long,  narrow  neck  and  jug- 
handle.  The  horned  handle  of  72  is  characteristic.  72  has 
long  tresses  of  hair  modelled  in  relief  on  the  shoulder;  73  has 
a  collar  and  74,  prominent  breasts  in  front ;  on  75  the  ornament 
of  zigzag  lines  with  groups  of  punctured  dots  at  the  angles  is 
rare  and  earl\':  compare  41  in  Wall-Case  2.  Hs.  23!  in. — 
i6g  in.         C\prus,   PI.   IX,  72.  II,  783,  782   (73,   75). 

76.  Oval  Box  with  Flat  Cover,  intended  to  be  tied  with  cord 
to  the  "string-hole"  handle  at  each  side;  it  imitates  basketr}', 
and  should  be  compared  with  53  in  Wall-Case  2.         L.  io|  in. 


(b)     MORE      elaborate     FORMS     AND     ORNAMENTS,     77-98 

This  series  begins  in  the  Early  Bronze  Age,  alongside  of  the  more    w.,|| 
primitive  t\'pes,  and  persists  into  the  Middle  Period,  degenerating    Case 
then  and  disappearing  soon.      The  forms  are  still  based  upon  the   ^ 
gourd-N'essel,    but    are   influenced    b\'    hasketr\'    and    leather-work. 
I'he  polished  red  surface  is  of  fine  (|ualit\'.      I  he  ornament  is  mainly 
inspired    b\'  basketrv  and   the  stitched  seams  of  leathern  bottles. 

77-81.  Ami'Horai,  with  globular  hod\-  and  wide  c\iindrical 
neck,  with  tw(;  small  handles  at  the  base.  78  has  snake 
ornament  in  relief;  the  rest  are  richl\'  incised,  in  imitation  of 
wicker-wcjrk.  Hs.94in.     (>'  in.  1 1,  8o(),  752,  810(79-81). 

82.  'FrouciH-sihhti.d  BoriLi-.  (Sihiiahclkcunic),  of  the  same  t\'pe 
as  34-37,  but  of  finer  fabric  and  richly  incised.  H.  lo.^  in. 

11,  744. 


Wall 

Case 

3 


THH    COLLECTION    OF-    POTTLRY 

83-88.  Narr()\\-nicki-i)  I^ottlilS,  like  the  large  ones  72-5  in 
Moor-Case  I,  but  of  the  same  tine  fabric  as  82,  and  richly 
incised.  Similar  tirnament  is  still  comnionl\-  applied  to  gourd- 
bottles  in  C\prus.  The  double  neck  of  (S7  and  the  mouth- 
piece of  8(),  which  is  formed  b\-  a  miniature  amphora  like  77-81, 
illustrate  once  more  the  (~\priote  potter's  l()\e  of  fantastic  and 
composite  forms.  The  handles  are  of  the  characteristic  angular 
form  alread\'  described  15-7),  and  the  other  horns  and  ledges 
on  83-84  are  likewise  bcjrrowed  from  the  wooden  fittings  of 
gourd-bottles.  The  small  bottle  88,  on  the  other  hand,  has 
neither  rim  nor  handle,  but  onl\'  a  small  string-hole  on  the 
neck:  it  thus  represents  the  natural  gourd  unadorned. 
Hs.  1  I  1",;  in. — 4.J  in.  C\prus,  PI.  \'I1  (83).  II,  750,  850, 

742,  821  (83,  84,86.87). 


Hitherto  the  incised  ornament,  e\en  when  it  is  as  elaborate  as  on 
77-88,  has  been  almost  exclusiveh'  rectilinear,  forming  hands,  or 
triangular  or  lozenge-shaped  patches,  enclosei-i  b\- outlines  or  simply 
filled  with  parallel  strokes.  Onl\'  occasionally'  a  careless  zigzag 
gives  rise  accidentall\-  to  a  wav\-  line,  in  the  series  89-98,  howe\er, 
intentionall\'  cur\ed  lines  are  used,  and  eventuall}'  these  are  com- 
bined into  sxstems  of  concentric  circles.  This  "concentric  circle" 
ornament,  once  established,  remains  characteristic  of  the  decorati\e 
art  of  (^\  prus  at  all  periods.  For  the  later  de\e!opments,  and  for 
that  other  series  of  concentric  circles  which  results  from  the  degrada- 
tion (jf  .Mwenaean  spiral-ornament,  see  600-6  in  Wall-Case  17. 
I  he  first  disco\-er\'  was  gradual,  as  the  following  examples  show: 

89-98.     Vasls    with    Clr\tlinear    Orna.ment,    de\-eloping    into 
concentric  circles. 

iS 


EARLY  BRONZE  AGE. 


FABRIC    I 


89-90.  A  lozenge-shaped  space  has  been  divided  into  four 
compartments  by  diagonal  lines,  and  each  quadrant  has 
been  filled  with  a  sx'stem  of  lines,  concentric,  but  onl\'  slighll\- 
curved;  the  general  effect  is  that  of  a  series  of  ill-drawn  con- 
centric circles,  intersected  b)-  a  cross.         D.  7^  in.,    H.  61  in. 

11,  846,  844. 

91.  Here  a  further  experiment  has  been  made.  Successive 
sets  of  concentric  semicircles  ha\'e  been  drawn  above  and 
below  a  band  of  parallel  lines,  part  of  the  primary  decoration 
of  the  \ase.  Here  the  effect  is  that  of  a  sinuous  band  of 
alternate  semicircles,  intersected  by  a  band  of  straight  lines. 
H.  4!!;  in. 

92.  The  semicircles  are  now  placed  opposite  to  each  other 
on  either  side  of  the  intersecting  band,  so  as  to  form  the  two 
halves  of  a  complete  circle;  this  circle,  hovvC\cr,  is  not  \et 
freed  from  its  transverse  base-line;  compare  the  black  spindle- 
whorl  139.         H.  8i  in.  11,  753. 

93-6.  F"inally,  full\'  formed  concentric  circles  are  drawn, 
without  construction  lines  of  any  kind.  E\en  here,  however, 
closer  examination  shows,  especially  on  93,  that  the  circles  are 
still  made  in  the  same  fashion  as  on  88,  each  segment  of  the 
system  being  drawn  separately,  and  only 
imperfectly  joined  to   the    next.  Hs. 

7§  in. — 5 J-  in.  Docll,  x\i,    11,    2392; 

Cyprus,  p.  408,  fig.  28;  Perrot,  fig.  485 
fall  96).  11,  840,  749  (93,  96). 

97.  The  circles  are  produced  not  by 
incision,  but  with  a  tubular  puiich,  prob- 
abl\'  a  reed  or  holkjw  plant  sti.m;  compare 
71  in  Moor-Case  1.  This  small  jug  is 
perhaps  of  rather  later  st\ie.  H.  3',  in. 

98.  The  circles  are  now  drawn  up  in 
looser  series;  and  ha\'e  also  an  unusuall}'  mechanical  look. 
W  ith  the  decoration  of  this  bowl,  compare  the  spindle-whorl 
105  and  the  black  bowl  1 32  below.       D.  4J  in. 

9')-i24.  SiMNi)!.i:-\\iioKLS.  'llicse  perforated  balls  are  of  the 
same  red-polished  ware  as  the  \'ases,  and  are  siniilarh'  decorated 
with  incised  ornament.  The}' are  \er\'  common  in  ihe  earliest 
tombs  and  remain  in  use  until  thr  .Mycenaean  period  of  the  Late 

IQ 


Wail 
Case 
3 


Wall 
(^asfS 
2,  5 


THE    COLLECTION    OF    POTTERY 

Wall  Bronze  Age,  when  they  give  place  to  spindle-whorls  of  stone, 

'^'^^'^^  ivor\-,  and  bone,  like  those  in  Wall-Case  73.     Their  use  is  illus* 

trated  hv  qc),  which  has  been  mounted  on  a  modern  spindle. 
Probabh'  the  primitive  form  of  these  whorls  was  spherical,  like 
100-105,  t'Lit  the  majorit)'  of  actual  specimens  belong  to  deriv- 
ative t\pes,  as  follows: 

(a)  The  under  side  is  flattened,  or  even  concave;  the  upper  side 
hemispherical  (99),  echinoid  or  urchin-shaped  (100),  or  conical 
(106). 

(b)  The  underside  also  is  convex  (i  19),  or  conical  (120),  lead- 
ing to  a  double-cone  type,  which  is  very  popular. 

(c)  \'er\-  rarely  the  profile  is  concave  (123):  compare  the  large 
flattened  form  (143  a&b,  below)  in  the  black  polished  fabric. 
There  is,  however,  no  reason  as  yet  to  regard  any  of  these  t\pcs 
as  appreciablv  earlier  or  later  than  the  rest.  The  very  small 
double-cone,  124,  on  the  other  hand,  is  of  Mycenaean  date  and 
probablx'  served  as  a  bead,  like  the  stone  example  1548  in 
Wall-Case  73.     Hs.  5!  in. — |  in. 

FABRIC    I,    B.       BLACK    POLISHED    VARIETY    I25-I44 

Wall  At  the  bottom  of  Wall-Case  3  is  a  distinct  variety  of  polished  ware, 
Case  which  has  a  black  surface  instead  of  the  ordinary  red.  This  black 
surface  was  produced  by  restricting  the  admission  of  air  during  the 
process  of  firing,  and  so  reducing  the  rust-coloured  oxide  of  iron  to 
the  black  protoxide;  some  examples  show  also  the  presence  of 
carbon\l  absorbed  from  the  fire.  This  blackening  sometimes  affects 
the  inside  of  the  vessel  only,  leaving  the  outside  red  (as  in  the  bowl 
125);  or  it  affects  the  outside  of  the  rim  as  well  as  the  inside  (126, 
127);  or  both  inside  and  outside  equally  (128-132).  In  Crete,  in 
the  Early  Minoan  Age  (which  shows  rare  points  of  correspondence 
with  the  Earl\-  Bronze  .Age  in  Cx'prus)  the  fabric  known  as  Vasiliki 
Ware  (from  the  site  where  it  is  best  represented)  shows  the  parti- 
coloured red-and-black  effect  intentionally  elaborated  into  decora- 
tive blotches,  which  form  a  sort  of  design  over  the  whole  surface 
of  the  vase;  but  this  does  not  seem  to  have  been  done  in  Cyprus. 
The  forms  of  this  Black  Polished  varict}'  are  almost  exactly  the 
same  as  those  of  the  standard  Red  Polished  ware;  compare,  for 
example,  the  black  bowls  128-132,  with  the  red  ones  11-13  in  Wall- 
Case  I,  or  the  black  bottle  135  with  the  red  one  88.  Large  examples, 
however,  do  not  seem  to  occur  in  the  black  fabric.     A  few  examples. 


EARLY    BRONZE    AGE.       FABRIC    I 

which  may  be  regarded  as  late,  have  a  flat  standing-base.  The  Wall 
ornament  also  is  almost  exactly  the  same  as  in  the  most  elaborate  ^^^ 
red-ware;  concentric  circles  appear  on  132,  and  concentric  semi- 
circles on  139.  The  interlaced  pattern  on  134  is  unusual,  and  the 
crossed  lines  on  136,  137,  and  141  mark  a  fresh  experiment,  for  the 
primitive  C\priote  potter  was  unusuall_\'  careful  not  to  let  an\-  of 
his  lines  or  ornaments  cross  or  overlap  another. 

125-132.  Hemispherical  Bowls,  like  the  plain  gourd-bowls  in 
Wall-Case  i;  123  has  unusualh'  elaborate  incised  ornament; 
130  has  a  small  handle;  131  a  small  conical  foot.  Ds.  51V 
in. — 3  r\i  in.  11,  834,  828,  836  (128,  131,  132). 


133.  Amphora,   with   cxiindrical   neck   like  77-81.  H.  4  in., 

11,829. 

134.  Cup  with  one  handle.         H.  3!  in.  II,  832. 

135.  Globular  Bottle,  with  very  narrow  pointed  neck,  and  one 
string-hole  by  the  orifice:  compare  the  Red  Ware  example  88. 
H.  5rV  in.  II,  830. 

136-8.  Small  Jugs,  with  narrow  neck,  beaked  spout,  and  tkat 
standing-base:  a  form  aliTH)st  exclusi\elv  confined  to  this 
black-polished  varietw  Hs.  jh  in.,  4}  in.,  3§  in.       II,  831. 

139-142.  Spindlh-whorls,  of  the  common  hemispherical  forms. 
Hs.  I  ]  in. —  1 4  in. 

143a,  b.  Spinule-whorls  or  Cartwheels  (like  those  of  y2()  in 
Wall-C^ase  14),  consisting  of  a  thin  Hat  disc,  with  a  raised  collar 
round  the  CL-ntral  hole.  Ds.    >,l  in. 

144  a,  b,  c,  d.  Four  Vase.s  of  a  c]uite  different  fabric  of  Black  Floor 
Polished  Ware,  wholly  distinct  from  that  of  C\prus  (Wall-Case  y^^^^ 
3j,  and  on  the  other  hand  indistinguishable  from  that  of  \'ortan 

21 


THE    COI.I.IiC.I  ION    OF    POTTllRY 

,    '"^  in  Phr\i;ia,  and  some  oilier  parts  of  Asia  Minor  in  the  Later 

Case  .  o     '  I  ... 

1  Stone    .\ti,e.     No    other    examples    ot    this    fabric    ha\e    been 

reeorded  from  Cl\  prus,  and  in  the  absence  of  an\'  record  of  their 
origin,  these  are  probabl\-  best  regarded  as  illustrations  of  the 
primiti\e  potter\-  of  the  mainland  nearest  to  Cyprus.  The 
forms  are  well  marked,  and  bear  some  resemblance  to  the 
earliest  potter)'  of  Hissarlik,  the  traditional  site  of  Homeric 
l'ro\'.  The  polished  black  jug  (144a)  with  wide  oblique 
spout,  has  pairs  of  projections  in  front  and  on  each  side,  to 
represent  breasts,  and  traces  of  a  zigzag  basket  pattern 
in  chalk\-  white  paint,  almost  wholh'  rubbed  off.  The  globular 
pot  (144b),  with  its  tour-horned  "string-holes"  and  breast  prom- 
inences and  its  flat-rimmed  c\iindrical  neck  shows  analogies 
with  (]\priote  v;ises,  but  is  handled  very  differently:  so  also 
is  the  similar  pot  (144c),  which  has  rectangular  handles,  simple 
incised  and  dotted  ornament,  breast  prominences,  and  tripod 
feet  like  those  of  the  earliest  Trojan  vases  and  of  a  rare  class  of 
\  er\-  earl\'  vases  in  C\prus,  unrepresented  here.  The  little 
beaked  jug  (i44d)  also  has  three  feet  and  breast  prominences: 
its  more  elaborate  incised  ornament,  of  semicircles  filled  with 
punctured  dots,  is  quite  strange  to  (^\  prus,  and  akin  to  that 
of  Tro\'.  H.  8{  in. —  2  1 ;';  in. 

FABRIC  I,  C.     DULL   BROWN  AND  GRHY  VARIETII-;S    I45-I50 

Wall  .\t  the  bottom  cjf  \\'all-C^,ase  4  are  examples  of  dull  brown  fabrics. 
Case  intermediate  between  the  standard  Red  Ware,  and  its  Black 
Polished  variety'.  Probabh'  they  onh'  represent  imperfect  work- 
manship, as  their  form  and  ornaments  are  identical  with  the 
standard  t\pes:  145  is  a  one-handled  jug  with  narrow  neck;  146, 
147,  are  wider-necked  jugs;  148,  a  shallow  bowl.  The  one-handled 
jugs  140-150  are  of  similar  fabric,  but  gre\-  cla_\',  without  an\' 
polisheil  surface;  perhaps  the\'  became  discoloured  in  the  work- 
shop, and  were  left  unfinished.  Hs.  5  iV,  in. —  2I  ['  in. 

11.      .MIDDLE  BRONZE  AGE:  ABOUT  2000-1500  B.  C. 

FABRIC  II.        Ri:i)  SLIP  .AND   BL.ACK  SLIP  W.ARHS 

These  fabrics  do  rot  occur  in  the  earliest  tombs,  and  seem  to  ha\e 
come  into  use  abc  ut  the  sam.e  time  as  the  subsequent  P^iinted  Ware, 
Pabric  iii.     The\'  mark  the  .Middle  Period  of  the  Bronze  Age,  and 


4 


MIDDLE    BRONZE    AGE. 


FABRIC    II 


disappear  rapidlx'  in  the  Later  Period,  when  Mj'cenaean  influences  W'M 
prexail.  Probably  the\'  were  originally  imitations  of  the  Red  ''^'^ 
Polished  Ware  of  Fabric  i,  in  localities  where  the  right  cla\'  for 
that  ware  was  not  to  be  obtained.  In  all  this  group  of  wares,  the 
cla\'  is  of  light  colour,  \ellow,  cream,  or  \-er\'  light  red;  but  it  is 
wholl\-  co\ered  with  a  thin  slip,  sometimes  neari>'  black,  but  often 
burned  red,  wholl>-  or  in  parts.  L'sualK'  it  is  not  polished  by  hand. 
The  slip  is  so  thin  and  brittle,  and  so  distinct  from  the  cla\'  beneath 
it,  that  it  has  often  flaked  away;  really  well-preserved  examples 
of  these  fabrics  are  consequcnti\'  rare. 

The  forms  differ  considerabl}'  from  those  of  the  Red  Polished  Ware. 
They  are  slighter,    and  less  close  to  those  of  the  primitive  gourd. 


The  characteristic  ornament  consists  of  narrow  ridges  of  clay  raised 
on  the  surface  of  the  \ase,  usuall}'  in  alternate  groups  of  straight 
and  wax  y  lines  <\^i-]'.  1  here  are  projecting  slring-holes,  as  in 
the  Red  Polished  Ware  (i54-i()i).  anel  sometimes  these  are  \  er}' 
numerous  (iCx)),  Inil  frecjueiith  t  hese  slring-holes  are  not  perforated 
156,  \y<,  1 70'  and  onsecjuent  l\'  ha\e  bec;)me  mereh'  decoratixe. 
OccasioiialK  one  of  the  raised,  bands  is  conxertetl  into  a  band  ol 
"chain-ornament"  b\'  deep  !mpres>ions  maile  at  interxals  on  tb.e 
band  of  clax' XX  hile  il  was  XX  et,  a\  in  \^^.  \(>2.  ](>4. 
(  )tlu'r  exanii)les,  152,  1  so.  i'*",  i  <»  i ,  are  ornamented  b\'  incised  lines; 
iuit  xvhereas  m  the  \{vd  PoliNhed  \\':ire  liie  inci>ed  line>  are  broad, 
deep,  and  tilled  xxilii  xxiiile  chalk,  in  the  Dark  Sliji  fabrics  lhe\'  are 


THH    COLLECTION    OF    POTTERY 

\^ -t"  narrow  and  sharp-edged,  as  if  made  with  an  implement  of  metal; 
'^    and  the\'  are  ne\er  filled  with  white  matter.      This  all  confirms  the 

evidence  of  excavation  as  to  the  coniparati\ely  late  date  of  this 

fabric. 

IS  1-3.  Amphorai,  with  nearly  spherical  body,  and  very  high 
cN'lindrical  neck.  Their  form,  which  is  characteristic  of  this 
fabric,  resembles  that  of  77-iSi,  but  is  ditTerenth'  rendered  in 
detail.  The  rim  has  a  sharply  projecting  collar,  and  two  small 
handles  are  set  at  the  junction  of  neck  and  shoulder.  Hs. 
14-A  in.,  I  5  iV  in.,  1O4  in. 

154.  Narrow-necked  Jug,  with  strongly  pinched  lip,  high  horned 
handle,  and  one  string-hole  in  front  at  the  base  of  the  neck. 
H.  13I  in. 

155-158.  Wide-necked  Jugs,  with  out-turned  rim  like  151-3,  and 
horned  handle.         Hs.  io|  in. — 5I  in. 

159-1O0.  Flasks,  characteristic  of  this  fabric,  with  long  oval 
flattened  bod\',  short  neck,  horned  handle,  and  numerous 
string-holes.         Hs.  ii-g  in.,  g\',\  in. 

161-163.  Narrow-necked  Jugs,  of  characteristic  form,  with 
globular  bodv,  short  neck,  and  simpler  ornament;  the  horned 
handle  recalls  a  wooden  model.         Hs.  81  in.,  6i|  in.,  5I  in. 

164.  Deep  Bowl,  with  upright  rim,  and  two  small  handles;  note 
the  well-developed  chain-ornament.         H.  3I  in. 

The  late  date  of  some  examples  of  this  group  of  wares,  165-172, 
is  further  shown  by  the  fact  that  they  bctra\'  the  influence  of  the 
later  Fabrics  v-vi  (shown  in  Wall-Cases  8,  9,  10). 

165.  Wide-mouthed  Jug  of  unusual  cla\'  and  handling,  with  a 
fresh  type  of  incised  ornament,  suggestive  of  that  of  the  White 
Slip  Ware  (Fabric  v);  compare  especially  285  in  Wall-Case 
8.         H.  7^  in. 

166-8.  LoxG-NECKED  JuGS,  with  pinched  lip.  These  show  the 
inlluencc  of  the  Base-Ring  Ware  (Fabric  vi  in  Wall-Cases  9, 
10)  in  their  strap-like  handle  and  small  but  distinct  standing- 
foot.  The  influence  of  these  fabrics  on  each  other  was  mutual; 
compare  367-8  in  Wall-Case  10.  166  has  numerous  string- 
holes.         Hs.  jl  in.,  5 vV  in.,  4!  in. 

169.  Composite  Vase  with  three  bodies,  united  in  a  single  neck, 
as  if  to  represent  some  kind  of  fruit;  its  funnel-shaped  rim  shows 
it  to  belong  to  the  same   later  variet}'  as  166-168.  H.  3!  in. 

24 


MIDDLE    BRONZE    AGE.       FABRICS    II 


III 


170-172.     Fantastic  Vases,  of  askoid  and  zoomorphic  forms,  are  as   Wall 


common  in  this  fabric,  particularly  in  these  later  varieties,  as 
we  have  seen  them  to  be  in  the  Red  Polished  Ware  (Fabric  i). 


Case 


172 


FABRIC  III.     wmiH   paintf;d  wares 

A.       STANDARD    1-ABRIC    WITH    DULL    CLAY    AND    PAINT 

The  White  Painted  Wares  all  belong  to  the  Middle  Period  of  the  w.j|] 

Bronze  Age.      They  present  great   \ariel\    of  treatment  in  detail.  Cases 

The  clay  is  of  a  pale  cream  or  \ellow  colour,  like  that  of  the  Red  and  ^'   '• 
...  "  and  7 

Black  Slip  \\  ares;  but  there  is  now  no  coloured  la\er  on  the  surface, 

and  the  ornament,  instead  of  being  incisetl,   is  applied  in  umber 

paint,  normallv  black  or  brown,  but  turning  to  brick-red  when  o\er- 

lired.     (Jccasionall\',  if  the  paint  lies  \er\'  thickl\',  it  shows  a  slight 

vitreous  lustre;  usuall}',  h(jwe\er,  it  is  cjuite  dull. 


25 


Till-    COLLlxniON    OF    POTTERY 


Wall 
Cases 

'■,.  0, 
ami  7 


The  forms  are  essentially  the  same  as  in  the  Red  Polished  and  the 
Rik\  and  Black  Slip  Wares.  The  principal  new  suggestions  come 
still,  as  before,  from  gourd-\essels,  baskelr\',  and  leather-work. 
The  \ases  seldom  ha\  e  an\'  standing-base,  but  are  often  provided 
with  tripod  legs  instead  (i8i,  i()3,  198-202).  Animal-shaped 
vases  are  \er\'  common  and  of  refreshing  vigour.  The  ornament 
still  consists  almost  whollv  of  geometrical  figures,  suggestive  of 
basket r\'  or  other  coarse  textiles.  Being  made  of  a  much  finer  cla_\' 
than  those  of  the  Red  Polished  Ware,  these  painted  vases  are 
generally  much  smaller,  and  more  delicate!)'  formed:  a  few  large 
examples.  howe\er,  occur  (173,  240-243). 

The  painted  ornament  shows  great  \'ariety:  177  has  large  black 
chequers;  17S  lattice  panels;  180  and  182  alternate  groups  of  straight 
and  wavy  lines,  running  verticalh'  downwards  from  the  neck,  all 
round  the  \ase.  On  the  other  hand,  179  is  ornamented  in  horizon- 
tal gores,  and  is  represented  as  if  composed  of  two  lateral  halves, 
connected  b\-  a  single  vertical  band  down  the  front  of  the  vase. 
This  ornament  also  seems  to  imitate  some  kind  of  basketry  woven 
round  a  natural  gourd:  compare  the  basket  pattern  of  the  bowls 
184,  185.  Small  painted  circles  arc  introduced  \er\-  rarel\-  (191- 
192,  264). 


1 74  1 77 

173-176.  Amphorai,  with  globular  bod\',  and  c}iindrical  neck  of 
the  same  general  form  as  151-3  in  Wail-(^ase  4.  The  neck  of 
176  is  so  narrow  as  to  class  it  rather  as  a  bottle  than  an  amphora, 
but  it  retains  its  two  handles  on  the  shoulder.  Hs.  i  i  r'',i  in. 
—  5ni  in.  II,  772  (174)- 


26 


MIDDLE    BRONZE    AGE. 


FABRIC    III 


177-183.  Narrow-nbcked  Juc.s,  with  globular  bodies;  181  has 
tripod  feet;  all  show  elaborate  ornament  of  chequers  and 
basketry.         Hs.  9s  in. — 4^  in.  '1.77'  ('77)- 

184-185.  Shallow  Bowls,  with  trough  spouts  and  string-holes 
in  place  of  handle.         Ds.  5 J-  in.,  4! ',  in. 

186-197.  Small  Flasks  of  \er\'  characteristic  form,  with  glo- 
bular bod\',  single  small  handle,  narrow  neck,  and  lip  pinched 
lateralis'  into  a  beaked  spout.  194  has  two  necks  side  by  side. 
186,  188  ha\e  horned  handles.  The  series  195-197  shows  the 
transition  from  open  trough  spout  to  a  tubular  nozzle  like 
that  of  an  oil-can,  behind  which  the  neck  itself  remains  open 
for  refilling.  This  again  repeats  a  primitive  gourd-form  which 
is  still  popular  in  modern  Cyprus.         Hs.    10  in. — 4  I'V  in. 


Wall 
Cases 

and  7 


198-208.  Fantastic  Flasks,  developed  from  the  preceding  type. 
In    198-202,   the   bird-like  aspect   of  the  tubular  nozzle   has 

suggested  the  addition  of  feet.  In  201,  202 
the  bod\-  has  been  flattened  into  an  annular 
form;  such  "ring-\ases"  ha\e  a  long  subse- 
quent histor\'  in  C\prus.  Similar  tlasks, 
203-20(S,  with  optMi  lijilike  i8()-i()4,  Init  with 
askoitl  bodies,  more  anti  more  zotMiiorphic, 
pass  oxer   into    the    fulh'    formed    "animal  , 

vases,"    2o()-225.  lis.     8]     in. — 2 J     in. 

C\-prus,     p.    4()(S,     fig.     26    (198). 

209-225.  A\imal-\'asi,s;  \cr\'  common  in  tombs  of  the  Middle 
Bronze  Agi\  and  in  the  eari\'  part  of  ihe  Later  Perioil.  Later 
still,  alter  the  decline  of  Mecrnaean  influences,  a  \ig(M'ous 
re\i"cal   of  lln'se  f\'pes   in   the  Transitional   Period   and    Larh' 

27 


THH    COLLECTION    OF    POTTERY 


Wall 

Case 

6 


Inin  Age  ma\'  bo  seen  in  Wall-Case  14.  The  variety  of  form 
is  endless:  the  most  popular  t\pes  are  deer  (221-225,  218), 
cattle  (216,  217,  21  1,  21 3),  and  horned  sheep  (219,  220).  Birds 
are  less  common  (210),  but  man\'  vases  which  are  less  full}' 
zoomorphic  than  the  quadrupeds  above  described,  have  a 
stronglv  bird-like  aspect,  and  are  provided  with  a  painted 
e\e  on  each  side  of  the  lip  (278).  A  dull  red  paint  is  used  as 
well  as  black  on  215-7.         Ls.  g^2  iii- — ^i  in-  Doell,  xvi, 

17,  4047  (217);  Perrot,  fig.  498  (222).     11,817,811  (219,221). 


Wall 

Cases 

6,7 


226-239.  Small  Flasks,  mostly  with  pinched  lip,  of  the  same 
general  t\-pe  as  186-193,  but  displa>-ing  more  full}'  the  Cypriote 
love  of  composite  forms  which  is  alread\-  apparent  in  the  two- 
necked  example  194.  The  series  226-228  shows  the  gradual 
transformation  of  an  ovoid  bod\-,  like  196,  first  (226)  into  two 
lobes,  then  into  an  annular  form  with  a  hole  through  the 
middle  (227);  and  then  into  a  wide,  slender  ring  (228),  with 
the  neck  on  one  side  of  the  circumference,  like  the  annular 

bodies  of  201-2.  Another  series 
(229-234)  show's  two,  three,  four, 
or  even  five  bodies,  joined  beneath 
a  single  neck;  and  tw^o  or  three 
necks  issuing  from  a  single  body 
(230,  235).  In  236,  two  necks 
issue  from  one  bod\',  and  are  re- 
united in  a  single  spout.  Next, 
237-8  have  a  simple  ovoid  bod}', 
and  a  loop  handle  at  the  shoulder; 
and  238-9  have  a  smooth  broad- 
rimmcd  lip,  instead  of  a  pinched  spout.  Hs.  9  in. — 4I  in. 
C}'prus,  p.  408,  fig.  27  (229);  compare  Perrot,  fig.  490. 

11,' 768  (233). 

28 


22() 


239 


MIDDLE    BRONZE    AGE.        FABRIC    III 


It  has  been  alread>'  noted  that  most  of  the  vases  of  the  Painted 
White  Ware  are  quite  small.     Larger  vessels,  however,  are  found. 

240-241.  Globular  Jlgs,  with  short,  narrow  neck  and  smooth 
rim;  240  is  decorated  with  gores  of  straight  and  wavy  lines 
like  180;  241  is  noteworth}-  for  the  copious  use  of  broad  bands 
of  paint  among  the  more  normal  lines;  the  lower  part  of  the 
bod}'  is  wholly  darkened.         Hs.  I2|  in.,  12-2  in. 

242-3.  Two-handled  V'asbs,  with  ornament  of  bands  and  gores 
imitating  straw  bindings.         Hs.  17I  in.,  lof  in. 

II,  769  (242). 
On  the  other  hand,  ver\'  man\'  \ases  of  this  fabric  are  so  small  as 
to  be  almost  without  practical  utilit}'.  The\-  were  probabi}'  made 
expressh'  for  use  in  tombs,  where  they  are  found  in  large  numbers 
together. 

244-234.  Bowls  or  Cups,  all  quite  small,  with  a  single  handle, 
usuall_\'  set  verticall)-  (244,  247-252),  but  , 
now  and  then  horizontall\'  (245-6);  the  orn- 
ament, as  usual,  represents  basketry,  with 
generally  a  ver>'  characteristic  binding- 
pattern  ^  on  the  bottom  outside.  The 
fantastic  example  254,  shows  two  such  bowls 
joined  beneath  a  single  handle.  Ds.  4I  in. — 
2i  in. 

255-265.  Miniature  and  [-"antastic  Vases,  copying  many  of  the 
forms  alread)'  described.  Such  pla\'things  or  souvenirs  are 
particular!}'  common  in  this  fabric,  though  the}'  are  found  in 
almost  all  classes  of  funerar}'  potter}'.  Note  the  fine  basketry 
ornament  of  261.  Hs.  4^  in. — 2^^  in. 


Wall 
Case 
6 


Wall 

Cases 

5,6 


Wall 

Cases 

6,7 


B.       POLISHED  VARIETY  WITH   LUSTROUS   PAINT,  266-274 

The  paint  of  this  fabric,  which  has  a  peculiar  gloss}'  lustre  and  burns 
to  a  bright  red,  is  put  on  \  crx'  thickl}',  and  stands  up  abcne  the 
surface  of  the  \ase,  which  itself  sometimes  shows  a  slight  polish. 
In  the  (^\prus  Museum  (^Jtalogue,  i<S()o,  p  3S,  this  ware  was 
described  separate!}'  as  "I-abric  ii,  2.  Polished  White  Ware,"  but 
so  man}'  intermediate  qualities  are  now  known  to  exist  that  it 
no  longer  deserves  a  se[iarate  name.  It  is  in  any  case  closely 
related  to  the  ordinar}'  White  Painted  Ware.  This  lustrous  paint 
may  be  due  [o  the  intluence  of  the  .M}cenaean  st}le  (Fabric  xi  in 


Wall 
(^ase 


29 


Tin-;  c:oi.i.i;(:ri()N  oi-   pottiu^y 

Wall  Wall-Clasc  12,  and  I'loor-C.aso  111),  but  ils  rclalixc  age  is  not  yet 
i.aic  i^,i(^)\vp  for  Lortain.  Some  of  its  lornis  are  eharaeterislic;  note 
espeeiall}-  tiie  triple  bowl  2()(),  with  the  beak-spouted  jugs,  267,  268, 
and  the  wide-necked  amphora  27.4  with  horizontal  handles  set  low 
on  the  bod\'.  The  little  flask  272  is  a  remarkably  fine  specimen  of 
delicate  ornament.         Hs.  9J  in. — 2^  in.  II,  767  (266). 


268 


(c)       LATli    AND   CONTAMINATED    FABRICS,    275-279 

L.ike  the  Black  Slip  Ware  in  Case  3,  the  White  Painted  Ware  was 
evenluall)'  inlluenced  b>'  the  later  Fabrics  \',  vi  (in  Wall-Cases  8, 
9,  10).  The  chief  symptoms  as  before,  are  the  standing-foot  and 
the  Hat  strap-like  handle  of  105-172.  The  narrow  neck  and  handle 
and  the  o\()id  body  of  277  are  also  cjuite  foreign  to  the  ordinarx' 
White  Painted  Ware.  i  he  precise  date  of  these  \arieties  is  not 
\et  certain.  Characteristic  forms  are  275,  a  bowl  with  \ertical 
handle;  27(),  an  oval  flask;  277-9,  narrow-necked  jugs  with  pinched 
lip.         Hs.  ()l  in. — 2}  in. 


FABRIC    IV.       BLACK    SLIP    ON    WHITE    WARE 
WriH     RED     PAINT 


'I"he  clay  of  this  ver\'  rare  fabric  is  of  light  colour,  but  its  surface  is 
covered  entireh'  with  a  black  slip,  polished  b\'  rubbing.  In  the 
C^\  prus  Museum  Catalogue,  1899,  p.  39,  this  fabric,  which  belongs 
to  the  same  period  of  the  Bronze  Age  as  the  White  Painted  Ware 
of  Fabric  iii,  is  described  as  "Black  Claze  Ware"  ii,  3:  the  black 
surface  of  the  majoritx'  of  the  known  examples  is,  however,  not  a 
'■glaze",  but  a  slip,  like  that  of  the  Black  Slip  Ware,  only  hand- 
le 


MIDDLE    BRONZE    AGE. 


FABRIC    IV 


porished.  On  this  polished  surface,  a  few  simple  ornaments,  Wall 
painted  in  lustreless  red  colour,  imitate  the  incised  decoration  of  ^^^ 
the  Red  Polished  Ware,  but  are  rather  more  stiffl>'  arranged.  Each 
set  of  lines  seems  to  have  been  painted  simultaneouslx'  by  a  number 
of  small  brushes  set  in  a  single  handle,  a  labour-saving  de\  ice  which 
had  great  popularit}'  in  Cyprus  later  on,  in  the  period  of  "concentric 
circle"  ornament  (see  600-6  in  Wall-Case  17). 

280.     Open    Bowl,    with    Trough    Spout.     This    is   the   largest 
known  example  of  this  fabric.     Other  examples  are  two  in  the 
Cyprus    Museum     (C.    M.   C  401,  a 
small  bowl;  402,  a  narrow-necked  jug); 
one    in  the  Imperial  Museum  of  Con- 
stantinople   .Catalogue  Nicole   568,  a 
large     bowl     with    spout    and    small 
handle,  not  unlike  this  example);    two 
in    the  National   Museum   at    .Athens 
(Catalogue      Nicole      175 — 116521 — a 
jug    like  C.    .M.   C.   402;     176 — 11654 
— a     deep     bowl   with   chevron    orna- 
ment and  holes   in   the  rim,   to  attach  a  cover);  one  in  the 
British  Museum  (C  20(),  a  jug  like  C  M.  C.  402);  and  a  long- 
necked  vase  in  the  Berlin  .Museum  from  Tamassos  (Tomb  V, 
28.)     All  these  forms  are  common  in  the  White  Painted  Ware 
of  I'abric  iii.      D.  11  in.  11,  1108-Q. 


ill.     l.ATE   BRONZE  A(^,E  ABOUT    1500-1200   B.   C. 

FABRIC     V.       WHITl-:     SLIP     WARE 


This  ware  appears  in  C\prus  not  much  earlier  than  the  period  of 
M\cenaean  influences,  which  corresponds  with  the  Cretan  period 
"Late  .Minoan  111,"  and  must  be  dated,  on  Eg\ptian  evidence,  to 
the  later  Eighteenth  and  Nineteenth  D\nasties,  about  i4()()-i2oo 
B.  il.  It  is  so  common  on  all  the  principal  sites  in  this  period,  as 
to  make  it  almost  certain  that  il  was  made  in  C\prus;  but  the  place 
of  manufacture  is  not  known.  ( )n  the  other  hand,  il  is  one  of  the 
ver\'  few  pot-fabrics  of  the  (^xpriotc  Bron/e  .Age  which  ha\'e  e\'er 
been  found  outside  the  island.  ()ne  hi.'mi^j-)herica!  bowl  has  been 
fountl  in  the  .Middle  .Minoan  stitlrment  in  the  Creek  island  of 
Thera;  and  fragments  at  .Athens;  at  llissarlik,  the  reputed  site  of 
Tro\';    in    l^g\pt,    at     lell-i'l-.Amarna    in    a    deposit    of    l^ighteenth 


Wall 
(^ase 
8 


31 


THE    COLLHCTION    OF    POTTERY 

Wall    n\nast\'  date,  and  at  Saqqara;  and  in  South  Palestine,  at  Tell-cl- 

•^''^^    Hes\-,  the  ancient  l.aehish. 

rhe  cda\'  is  quite  unlike  that  of  an\'  other  C\'priotc  fabric,  except 
the  Base-Ring  Ware,  I'ahric  vi,  which  is  practically  identical  with 
it.  It  is  of  dark  gre\- or  slate  colour,  often  full  of  large  white  grains. 
It  turns  to  a  bright  red  if  over-fired.  In  this  White  Slip  Fabric,  the 
natural  cla\-  is  entirel\-  co\ered  with  a  very  thick  white  slip,  usually 
lustreless,  though  a  few  exceptionall\'  fine  examples  show  a  pearly 
lustre.  On  this  slip,  the  ornaments  are  painted  in  a  lustreless 
black  paint,  which  turns  red  if  over-fired,  as  on  291.  \'ery  rarely 
two  qualities  of  colour,  black  and  red,  are  used  together:  a  good 
instance  is  295. 

The  forms  differ  altogether  from  those  of  Fabrics  i-iv  already 
described,  and  seem  to  be  wholly  derived  from  leather-work. 
The  painted  decoration,  best  illustrated  in  the  simplest  t}'pe  of 
bowl,  281,  291-4,  consists  essentia!l\'  of  simple  bands,  evidently 
intended  to  represent  stitches  or  lacings.  Ihey  run  radially  from 
the  rim  towards  the  bottom,  as  though  the  bowl  were  cut  out  of  a 
single  piece  of  leather,  and  sewn  together  like  a  jockey's  cap. 
Round  the  rim  of  the  common  bowls  (281),  and  round  the  necks 
and  bodies  of  other  vessels  (285,  286,  289),  double  seams  are  some- 
times found;  and  in  the  bowls  281,  282,  286,  these  double  seams  are 
continued  as  far  as  the  base  of  the  handles,  which  are  always  flat 
in  section,  and  seem  to  imitate  thin  wooden  laths,  included  within 
the  double  seam,  and  lashed  together  where  they  protrude.  It  is 
worth  noting  that,  e\-en  in  the  cla}-  copies,  these  handles  are  alwa_\-s 
represented  with  their  ends  slighth'  warped  apart,  as  would  probably 
be  the  case  with  their  protot\-pes.  Probably  the  other  double 
seams  represent  in  the  same  way  the  places  where  wooden  ribs  were 
inserted  between  two  thicknesses  of  the  original  leather  to  stiffen 
it.  The  decoration  of  the  more  elaborateh-shaped  vases  repeats 
in  essentials  the  scheme  thus  developed  for  the  simplest  bowl. 
Only  occasionall}-  are  small  stars,  rosettes,  chains  of  small  latticed 
lozenges,  and  other  fanc\-  stitches  admitted.  It  is  this  White  Slip 
Ware  which  has  principally'  influenced  the  later  varieties  of  the 
White  Painted  Ware,  275-9,  shown  in  Wall-Case  7.  The  bowl  275, 
in  particular,  imitates  the  hemispherical  bowl  with  standing-foot. 
Characteristic  forms  are  as  follows: 

281.  Hemispherical  Bowl,  with  flat  pointed  handle,  as  de- 
scribed ab()\e.  This  is  by  far  the  commonest  form  in  this 
fabric.         D.  10^2-  in. 

^2 


282 


TUn    COLLECTION    OF    POTTERY 


W'.ill 

Case 

8 


2S2.  Di-HiM;R  Bowl,  rather  more  than  hemispherical,  with  low 
cxlincirical  rim,  and  more  elaborately  modelled  handle.  H. 
0'  in. 

2<S3-{).  \\'inh-Ni:cKi:D  Jugs,  with  long  neck  of  slightly  concave 
outline,  more  or  less  wide,  with  one  vertical  handle  of  flat 
section,  surmounted  in  283-5  by  a  prominent  flat  thumb-hold. 
Hs.   10 iV,  in. — 58  in.  Cyprus,  p.  408,  fig.  29;  Perrot,  fig. 

480,  (283).  II,  766  (284). 

287-9.  NARROwtR-NtcKED  JuGS,  with  plain  handle,  and  slightly 
pinched  lip.  Ms.  9?,  in.,  8-3  in.,  4^  in. 

290.  Globular  Jlg,  of  less  regular  form,  with  narrow,  tapering 
neck  and  funnel-shaped  rim.  Compare  315-17  in  Floor-Case 
11.         H.  7^  in. 


292 


291-9.  Smalllr  Bowls,  with  rounded  or  flattened  under  side. 
Occasionallv,  there  is  a  standing-foot  (293,  296,  298),  usually 
decorated  with  a  simple  cross  on  the  under  side.  The  principal 
variants  in  the  regular  fabrics  are  illustrated  by  291-6;  while 
297-9  ^i"*^  inferior  imitations  of  it,   in   rather  different   clay. 

Ds.  7J  in.— 3J  in. 

i:|„f)r   Selected  examples  of  large  size  or  special  interest  are  exhibited  in 
Case    Floor-Case  11.     They  repeat  for  the  most  part  the  characteristic 
forms  already  described. 

300-305.  Hlmisphhrical  Bowls  like  281,  but  larger,  except  305; 
of  these,  300-301  are  of  normal  t\pe;  302,  304  have  a  trough 
spout  below  the  rim,  like  the  large  red-ware  milk  bowls  in 
Floor  Case  1;  303  has  a  tubular  spout  and  also  two  lateral 
handles  instead  of  one  opposite  to  the  spout.  The  standing- 
base  of  305  has  been  extemporized  by  simply  pressing  in  the 


34 


3U3 


THH    COLLHCTION    OF    POTTHRY 

!  Idor  bottom.      The  slip  of  this  example  is  unusuall\'  porous,  and 

^"^j^^'  has    absorbed    and    spoiled   the  paint.  Ds.  12   in. —  5I  in. 

II.  762  (303). 

306-10.  Bowls  with  L'pkicht  Rim,  like  282  in  Wall-Case  8. 
The  scale-pattern  on  the  neck  of  310  is  unusual:  it  may  be 
borrowed  from  the  M\cenaean  scale-pattern  which  is  common 
in  labric  xi;  for  example,  on  447  in  Floor-Case  111.  Hs. 
lOj  in.  —  8^  in.         C\'prus,  p.  24.  II,  761  (310). 

311-313.  HiGH-NF:CKED  JuGS,  with  homcd  handle  like  283-5  in 
Wall-Case  8.  The  decoration  of  313  is  unusually  elaborate, 
and  the  horn  of  the  handle  is  modelled  into  a  human  figure. 
Hs.   ii|  in.,   lOg  in.,  84  in.,  11,  765  (313). 

314.  Narrow-necked  Jug,  like  287-8  in  Wall-Case  8,  but  with 
more  elaborate  ornament,  including  unusual  wav\-  lines  on  the 
neck.  These  were  clearly  applied  simultaneously  by  using 
a  bundle  of  small  brushes:  a  de\ice  alread\'  familiar  from  the 
decoration  of  280  in  Fabric  i\'.  H.  c)-i'V  in. 

315-7.  Narrow-necked  Jugs  or  Bottles,  of  unusually  delicate 
qualit}-;  315-316  ha\e  a  white  slip,  so  hard  as  to  be  almost 
glossy,  and  the  painting  also  is  exceptionalh'  fine:  compare 
British  Museum  C.  175-6  (the  former  a  Ccsnola  specimen)  which 
in  the  British  Museum  Catalogue  of  \'ases  are  wrongly  ascribed 
to  Fabric  ix  (=CMC.  \.  4.)  Hs.  7-,",-,  in.,  7  in.,  8|  in 

II,  760,  764  (316,  317). 

FABRIC  VI.       BASE  -  RING  WARE 

Wall  The   Base-Ring  Ware  was  originalh-  so  called   because  it   is   the 

Cases  earliest  fabric  in  C\prus  which  habitualK'  pro\idcs  its  vases  with 
9,  10         .    .  .      '  '  ■'    ^ 

a  distinct  standing-base,  formed  b\-  apphmg  a  ring  to  the  rounded 

under  side  of  the  vessel.      It  is  now  recognized,  however,  that  not 

all  vases  of  this  fabric  are  provided  with  a  base-ring  (319,  320,  328). 

The  cla}'  is  exactl>'  like  that  of  the  White  Slip  Ware,  but  has  little 

or  no  prepared  surface.     When  properl}'  baked,  it  is  of  black  or 

dark  brown  colour,  but  it  is  easil>-  turned  to  red  by  overfiring. 

Like  the  White  Slip  Ware  (F'abric  v),  the  Base-Ring  Ware  seems 

designed  to  imitate  leathern   forms,  but  some  examples  seem  to 

show  also  the  inlluence  of  metal  vases.      Bronze  vessels  of  closel}" 

similar  forms  were  in  use  in  Eg\pt  under  the  Eighteenth  D\  nast_\' 

(1550-1350  B.  C.j,at  which  period,  also,  the  Base-Ring  forms  them- 

36 


LATE    BRONZE    AGE.       FABRIC    VI 

selves  were  frequent  1\'  imitated  in  alabaster  (1628-9),  3"<J  other  Wall 

varieties  of  stone.     It  is  possible  that  this   Base-Ring  Ware  was  ^^^^^ 
.  ?  9,  10 

principalh'  manufactured  m  C\'prus,  but  examples  of  it  have  been 

found  on  several  Eg\ptian  sites  of  Eighteenth  D\nast>'  date,  and  it  is 

probable  that  the  fabric  was  original!}'  of  foreign,  perhaps  S\rian, 

origin. 

Base-Ring  Ware  is  to  be  subdivided  into  two  principal  classes, 

according  as  the  ornament  is  added  in  lustreless  white  paint,  or 

modelled  in  relief.     There  is  also  a  small  class  which  is  without  an>' 

ornament  at  all. 


A.       SIMPLE    FORMS    WITHOUT    ORNAMF.NT.       318-32O 

1  he  clay  is  coarse  and  of  lighter  colour  than  is  usual  in  this  fabric. 

318.  Deep  Bowl  on  a  distinct  base-ring,  with  low  cylindrical 
neck  and  stiff  handle,  like  282  in  Wall-Case  8.     H.  8  in. 

319,  320.  Funnel-necked  Jugs,  with  slightly  pinched  lip,  like 
the  common  White  Slip  Ware,  287-8.  These  have  no  "base- 
ring,"  but  are  roughl\'  flattened  below.         Hs.  9^  \n.,'j\i  in. 

B.       PAINTED    VARIETIES.       32I-336 

In  these  varieties,  the  painted  ornament  is  in  white.  It  repre- 
sents a  binding  of  rushes  or  straw,  such  as  is  used  to  protect 
Italian  oil-flasks.     The  commonest  forms  are  as  follows: 

^21-2.  Large  Jugs,  with  high  foot,  ovoid  bod\-,  tall  c>lindrical 
neck,  funnel-shaped  rim,  and  strap-handle  from  tlie  shoulder 
to  the  middle  of  the  neck.  Hs.  9^  in.,  1  i  in. 

323.  I'antastic  \'ase,  in  which  an  oxoid  b()d\  like  that  of  321-2 
is  surmounted  hv  two  narrow  necks  connected  by  a  strap- 
handle;  one  of  these  necks  is  open,  the  other  is  closed  bv  a 
bull's  head,  like  353-6.  H.  8'j  in.  Doell,  xvi,  22,  4037; 
Cvprus,  PI.  \T11. 

Occasionally'  the  forms  appropriate  to  other  fabrics  of  the  Late 
Bronze  Age  are  imitated  in  the  Base-Ring  Ware. 

324.  I)()wi,  on  High  I ooi,  with  one  strap-handle,  set  horizontally. 
Thu  ornament  includes  whilr  painted  stars  as  well  as  the 
normal  binding-pat tt-rn.      1).  ^l  in. 

32S-327.       N.\RKow-Ni-.GKi-u    Ju'(.s,    with    characteristic    moulded 

37 


Tin;    COI.I.I-.CI  ION    OI-     I'OriHRY 

\\  ■>"  rim.      1  he  form  of  U7  is  pcrliaps  inllucnced  b}'  370-4  in  I'abric 

"'^"■^  \ii.  Us.  ()s  in.,  b'i  in.,  'jl  in. 

I).    It)  h  '       b  '    /  .s 

32S.  LiNioii)  i'i./\SK,  with  narrow  neck  and  strap-handle  on 
(.)ne  of  the  tlal  sides;  the  I'orni  is  that  of  375-9  in  Fabric  vii. 
H.  7;^  in.  II,  759. 

32().  PiRiioK.M  Vash  with  pearshaped  body,  low  neck,  and 
three  small  handles  on  the  shoulder.  The  form  is  borrowed 
from  the  M\cenaean  "piriform"  vases  (417-19)  of  Fabric  xi  in 
\\'all-(]ase  12.         H.  2  r',;  in. 


33^ 


333 


330,  331.  Si'oi  T  Juc.s,  shaped  like  329,  but  with  one  \ertical 
handle,  a  lateral  spout,  and  a  strainer  within  the  rim. 
Us.  2  \ ,';  in.,  3:,'  in. 

332.  I^wiasik;  Vasii,  fish-shaped,  with  long  body  on  low  feet; 
in  the  middle  of  the  ujiper  side  is  a  short  neck  with  a  strap- 
handle  behind,  and  a  bird-h'ke  head  on  a  long  neck  stands  a 
little  in  front  of  it.  F.  ();;;  in. 

333-337-  Bri,L-\'AS!-,s,  \er>'  \igorousl\'  modelled  b\-  hand,  with 
e\'es  added  in  pellets  of  cla\-.  The  ornament  usually  consists 
of  the  same  binding-patterns   as  on   the  \ases,   but   334  has 

38 


LATE    BRONZE    AGE.       FABRIC    VI 

rudely  drawn  trees,  and  336  spots  as  well  as  lines.     337  has  Wall 
no  painted  ornament,  but  a  ring-handle  over  the  bull's  nose.  <^'>ses 
These  bull-vases  arc  very  common  in  the  rich  tombs  of  the  '^' 
Late  Bronze  Age.        The  bull  2008  in  the  Collection  of  Terra- 
cottas is  of  exactly  the  same  fabric  burnt  red.     Ls.  7^  in. — 5I  in. 
Cyprus,  Pi.  VllI;  Perrot,  fig.  502. 


C.       UNPAINTED,  WITH  ORNAMENTS   IN  RELIEF 

The  general  forms  and  character  of  the  unpainted  ware  resemble   \ 

^  Case 

\ery  closel\-  those  of  the  painted  variet}'  alread\-  described,  but    10 

the  structure  of  the  vases  and  their  relation  to  a  leathern  or  metallic 

protot\'pe  are  here  more  easily  recognized.     The  relief  decoration 


is  peculiar;  the  larger  \ases,  33<S-344,  show  a  rim  thickened,  as  if 
formed  of  two  laxers  of  material,  and  a  flat  strap-like  handle,  con- 
nected with  the  neck  of  the  \'ase  h\-  a  double  collar.  A  pair  of 
rflief-bands  run  up  the  front  of  the  bod\-,  antl  return  outwards  in 
a  spiral  form,  on  each  side  of  the  \  essel  (  ^  ^"^-34  i ,  3s  1  ).  The  general 
ctfecl  is  that  of  a  pair  of  horns,  but  probahlx  tiie  original  intention 
was  to  rt'presrnt,  in  leather-work,  seams  like  those  on  lheco\ering 
of  a  lawn-tennis  ball.  Similar  seams  run  verticalK'  up  the  front 
ol  some  of  the  \  ascs  i  ].\].  -(44).  and  are  sometimes  combined  with 
hon/ontal  bantls  as  on  ',so.  1  hr  s]iirals  ihemsrKes  are  sometimes 
replaci.'d  bv  sinuous  bands  (545,   )4'j,  348,  ji)^),  and  these  sinuous 

39 


THH    COLLECTION    OF    POTTERY 

\\  all  bands  in  turn  arc  adapted  \o  look  like  snakes,  and  sometimes  have 
(.".aso    niodellcd  snake-like  heads  (^S4,  335)- 

3  5S-?4t.  Narkow-mckii)  Jugs  like  321,  save  that  338,  339,  343, 
^4S,  have  a  spout  of  bold  outline.  Hs.  17^  in. — 6  in. 

34(>-?4C).  WiDh-MOLTHHi)  Jugs  with  horned  strap-handles,  like 
2(S3-5  in  the  White  Slip  Ware  (Fabric  v).        Hs.  yf  in. — 4I  in. 

330-357.  .Mima  ruKi--  X'asus  with  very  long  narrow  neck,  wide 
funnel-shaped  rim,  and  strap-handle  rising  from  the  shcjulder 
to  a  handle-ridge  halfwax'  up  the  neck:  333  has  a  high  foot; 
3tt  a  pinched  spout  like  3^S-();  and  336  a  depressed  body  of 
angular  profile:  337  is  unusual!\-  small,  e\en  for  a  miniature 
\ase.  Hs.  6|  in.^ — 3  i'^  in. 


35H-35Q.  Composite  V'ashs,  consisting  of  two  small  vases  like 
3,0-357,  set  side  b\'  side  with  bodies  and  rims  in  contact,  and 
the  two  handles  merged  in  one.         Hs.  4I  in.,  4  in. 

360.  LhNToiD  Flask,  like  328  in  the  painted  \ariet}-  in  Wall-Case 
9.  H.  5l;i  in. 

361.  D[-:hi'  Bowl  of  characteristic  form,  funnel-shaped  below, with 
narrow  upright  rim,  and  stifT  handle  like  282  and  318.  This 
is  the  commonest  t_\pe  of  bowl  in  this  fabric.  D.  Og  in. 

362-3.  Bowls  of  less  topical  form:  362  is  rather  deeper  than  361; 
3C3  of  hea\y  convex  profile  with  wa\>-  line  in  relief;  364, 
hemispherical,  on  high  foot  with  strap-handle;  365  is  a 
miniature  copy.  Ds.  Gi'o  in. — 3^  in. 

366-368.     Dl(.i-,nhrati-;   Vases   are   occasionally   found   either  of 

40 


LATE    BRONZE    AGE.       FABRICS    VI-VII 

normal  fabric  with  incised  ornaments  borrowed  from  that  of    ^^^11 
the  Red  Polished  Ware  (366);  or  imitated  in  the  Black  Slip    j^ 
Ware,     with     more    or    less     defective     finish     (367,     368). 
Hs.  5I  in.,  5  A  in.,  3I  in. 


FABRIC    VII.       WHEELMADF    RED    WARE 


This  fabric  is  probably  not  of  Cypriote  manufacture.  It  is  found  Waii 
frequently  in  Cxprus  in  tombs  of  the  oeriod  of  M}'ccnaean  influence  Case 
(1400  to  1200  B.  C),   but  is  found  .     " 

quite  as  frequently  in  Egypt  in  tombs 
of  Eighteenth  Dynast\-  date  (1600 
1350  B.  C),  and  also  on  the  coast- 
land  of  Palestine,  in  deposits  of  the 
same  period.  The  cla\'  is  brick-red 
throughout,  with  a  hand-polished 
surface.  The  \ases  are  alwa>s  wheel- 
made,  whereas  all  the  fabrics  hither- 
to described  were  fashioned  without 
the  use  of  the  potter's  wheel.  The 
commonest  forms  are  as  follows: 

369-375.       SlMNDLH-SHAPED  BOTTLES, 

with  one  handle  from  neck  to  shoul'  ' 

der,  long  and  narrow,  370-4,  or  broader,  369,  375. 
—  II  A;  in.  II,  939  (370). 

376-381.     LriNioin   Flasks,    like   those    of   the   Base-Ring   Ware 

already  described  (328,  360).       The  two-handled  fkisk  381  is  of 

a  separate,  but  allied  fabric,  perhaps  of  somewhat  later  date. 

Hs.  I2,',,in.  -     7i''iiin.  11,938(376). 

.Man\'  of  these  flasks  antl  bottles  ha\'e  a  letter  or  s\'mbol    incised 

on   the  cla>-  before  firing,   usuall)'  at    the  base  or  on   the   handle. 


1 
376 


r 

377 


f 
378 


37Q 


Some  of  these  svmbols  are  identical  with  characters  of  the  Cypriote 
s\ilabar\'  of  later  times;  others  rt'cur  on  i"»otter\'  at  Tell-el-I  lesy 
in  South  Palestine,  and  at  Kalum,  anti  other  sites  in  Eg\pt  where 
foreign  inlkienci'  is  perci-'pt ibh';  a  frw  rejn'at  characters  which 
occur  in  the  .\linoan  scrip!   of  (jH'tt'.      Ill,  cxl,  3,4,0,8-11 


41 


THI-;    COLLF.CTION    OF    POTTERY 

Wall    ^S2.     0\()iD   Jlc,    with    narrow    hoa\  \ -rimnu'd    neck;    of   similar 

^"'^^"  fabric,    but    of    a    form    more    akin     lo    I'abric    viii    below. 

1 1 

H.  4:1  in. 


FA[5RI(:    VIII.       BL.\CK    PUNCTURED    WARE 

The  ela\-  is  fine  and  black,  but  it  turns  to  dull  red  when  over-fired. 
The  ornament  consists  wholl_\'  of  rows  of  fine  dots  impressed  on 
the  cla\\  probabl\-  b\-  means  of  the  points  of  a  fine  comb.  This 
ware  was  first  observed  in  Cyprus  by  Cesnola;  then  in  i886  at 
Khetaanah  in  Eg\"pt,  in  deposits  of  the  Twelfth  and  Thirteenth 
Dxnasties;  then  at  Kalopsida  in  Cxprus  in  1894  in  tombs  of 
the  .Middle  Bronze  .Age,  associated  with  beads  of  blue  glaze  like 
1 562  in  Wall-Case  73,  which  seemed  to  confirm  the  Twelfth  D\nasty 
date.  The  same  fabric  has,  however,  also  been  found  at  Idalion 
in  tombs  containing  .Mxcenaean  \'ases  of  I'abric  xii,  which  can 
hardl\-  be  older  than  the  Eighteenth  D_\nast\-;  and  ver\-  abundantly 
in  other  .Mxcenaean  tombs  at  Enkomi  near  Salamis.  In  1906, 
Professor  Elindcrs  Petrie  found  large  quantities  of  the  same 
fabric,  including  numerous  \ases  of  the  same  fish-shape  as  384,  on 
a  site  at  Tell-^'ahudi\  eh  in  the  Eg\ptian  Delta,  which  he  ascribes 
to  H\'ksos  in\aders,  and  identifies  with  the  Hyksos  fortress  of 
A\aris.  The  Philadelphia  e.xpedition  found  the  same  ware  at  Buhen 
(Haifa)  and  Anibeh,  in  tombs  of  the  XVI 11  to  X.XI  D\nasties,  as 
well  as  in  tombs  of  the  XII  D\nasty  at  Buhen.  The  fabric  clearl\ 
lasted  long  without  material  change.  The  e.xistence  of  intermed- 
iate varieties,  such  as  383,  suggests  that  the  Black  Punctured 
Ware,  like  the  Wheelmade  Red  Ware  of  Eabric  \ii,  is  probablx 
not  (jf  (2\priote  make,  but  may  belong  to  some  district  on  the 
Sxrian  coast,  which  (it  must  alwa\s  be  remembered)  has  hitherto 
been  \erv  imperfectl\'  explored.  The  commonest  forms  are  as 
folkjws: 

383.  0\()i[)  Jlg,  with  narrow  neck,  fiat  strap-handle,  a  peculiar 
hea\\'  rim,  and  small  button-shaped  foot.  This  is  the  common- 
est and  most  t\pical  form.  H.  b {',-.  in. 

384.  EiSH-sHAi'i-.D  \'.-\st,  with  neck  issuing  from  the  mouth  of 
the  fish.  1  he  polished  surface  of  the  vase  is  entire!}'  scraped 
awa\-  in  some  parts  to  indicate  scales.  L.  4^  in. 

385.  Jug,  of  more  pearshaped  form,  without  the  punctured 
ornament.    It  represents  a  distinct  variety  of  Black  Punctured 

42 


LATE    BRONZE    AGE. 


FABRICS    VIII-IX 


Ware,  more  like  the  Wheelmade  Red  bottles  already  described:   Wall 
compare  especially  382.         H.  6h  in.  ^^^ 


FABRIC    IX.       COARSE    WHITE    WARES 


This  term  is  used  to  include  a  number  of  ill-defined  fabrics  which 
are  often  found  in  the  tombs  which  contain  Aegean  vases  of  Fabric 
xii.  A  few  similar  forms  have  been  described  from  tombs  of 
rather  earlier  date  at  Kalopsida,  but  the  whole  group  belongs 
essentially  to  the  Later  Bronze  Age,  and  some  of  the  vases  ha\e  a 
base-ring  and  other  features  which  suggest  that  the\'  are  local 
imitations  of  other  fabrics,  and  perhaps  of  originals  in  netal  or 
other  material  more  precious  and  durable  than  claw 

3.S6.  Jug  with  Pinched  Lip  and  Pointhd  Body.  This  is  one  of 
the  commonest  forms.  It  is  made  of  coarse  greenish-white 
clay,  without  the  use  of  the  wheel,  and  the  outside  has  been 
cut  to  a  point  with  a  knife.  ()ccasionall\'  such  jugs  have  one 
or  two  bands  or  dashes  of  poor  black  paint.  H.  6^  in. 

387-388.  Rattlhs,  of  the  same  form  as  38('),  but  with  rather  more 
black  paint.  Thi.'\-  look  like  small  jugs  at  first  sight,  but 
the  neck  is  closed  b\'  a  bird-like  face,  and  there  is  no  spout; 
as  the)'  alwa\s  contain  a  small  loose  pebble,  it  is  probable 
that  the\-  were  intended  as  children's  rattles.  Us.  3.^   in., 

3-2  in. 

38Q.  I'isH-siiAi'i-.D  Vasf-.,  made  of  almost  exactl\-  the  same  clay 
as  the  pointed  jug  386.  L.  10^  in.  Doell,  x\i,  18,  4034; 

C\prus,  PI.  \'1I1.  11,812. 

390.     0\uiD   jfo,    in    another   \\'hite   labric,  which  imitates  the 

43 


Wall 
Case 


THH    COLLHCTION    OF    POTTERY 

Whcolniadc  Ware  of  I'ahric  \ii.  It  has  a  small  characteristic 
foot,  and  the  same  narrow  neck  as  the  ordinary'  bottl(>s  of 
that  fabric,  but  the  body  is  divided  into  two  lobes  b\'  a  hori- 
zontal groo\e  round  its  middle.  H.  jl  in. 


391-2.  Figures  of  Bulls  in  similar  cla\-;  a  little  modelled  about 
the  head  in  a  st\  le  which  resembles  the  contemporar\'  Late 
Minoan  art  of  Crete.  391  has  bands  of  coarse  black  paint; 
392  reddish  paint,  and  crescent-shaped  impressions  to  render 
the  hair  on  the  forehead.  Compare  the  bull-vases  in  Base- 
Ring  Ware  333-7  in  Wall-Case  9,  and  the  female  figures  2009-n 
in  the  Collections  of  Terracotta.         Hs.  bl  in., 

393.  Female  Figure  (upper  part  onl\).  This  represents  a 
notable  fabric  characteristic  of  the  latest  phase  of  the  Bronze 
Age,  in  which  \ases  also  were  made,  though  none  are  included 
in  this  Collection.  Ihe  cla>'  is  smooth  and  reddish,  of  a 
peculiar  stick\-  te.xture;  and  it  is  decorated  with  two  kinds  of 
paint,  black  and  red.  Idie  red  paint  has  alreadx'  made  its 
appearance  in  Fabric  i\-,  and  will  become  prominent  in  the 
Graeco-Phoenician  Period.  H.  4/,-,  in. 


44 


LATE    BRONZE    AGE.       FABRICS    X — XI 

FABRIC    X.       CYPRIOIF,    HANDMADE    BUCCHERO    WARE 

This  name  is  convenient!)'  applied  to  a  class  of  vases  made  of  black  Wall 
cla\',  in  forms  imitated  from  metal  prototypes,  like  those  of  the  '^^^^ 
Bucchero  Wares  of  Etruria  and  other  parts  of  Europe.  The  clay 
is  intended  to  be  black  or  dark  gre\-  throughout,  though  occasion- 
ally it  burns  to  a  dull  red  when  over-fired.  I'his  Bucchero  Ware 
appears  first  in  C\prus  during  the  period  of  Aegean  influence. 
It  is  not  found  on  the  S\rian  coast  or  in  Eg\pt,  and  probably 
represents  one  of  the  arts  introduced  b\'  the  Aegean  colonists. 
The  earliest  examples  are  built  b}-  hand,  and  the  external  decoration, 
of  rough  vertical  grooves,  gores,  or  gadroons,  is  likewise  effected 
\vholl\'  b>'  hand,  or  with  ver\-  simple  tools.  Later  \arieties  are 
wheelmadc,  and  pass  on  into  the  Earl\'  Iron  Age  fabric  of  Wheel- 
made  Bucchero,  which  is  shown  in  Wall-(2ase  13. 

394-9.  Globular  Jlgs  are  the  commonest  forms:  the\'  all  have 
the  body  ribbed  or  gadrooned  to  imitate  metalwork,  but 
usuall\'  not  quite  verticall\',  through  hast\'  workmanship:  this, 
though  probabl\'  unintentional,  gives  a  pleasing  twisted  efTect. 
There  is  often  a  well-marked  collar,  representing  a  metallic 
junction  of  neck  and  shoulder. 

394-5  are  of  the  standard  fabric,  in  dark  gre>'  cla\-,  and  have 
a  characteristic  C3lindrical  neck  and  narrow  metallic-looking 
rim  like  a  smoke-stack.     (See  p.  61.) 

396-7,  in  a  different  cla\'  with  dark  burnished  surface,  which  is 
inclined  to  Hake,  have  a  shorter  and  wider  neck,  and  wider 
ribbing  rendered  by  prominent  ribs  of  applied  clay. 
398-9  are  in  a  past}'  cla\'  of  lighter  colour,  more  akin  to  that 
of  the  Coarse  White  Wares  of  I'abric  ix:  398  repeats  the  form 
of  394;  and  399  that  of  395.         Ds.  7  i'\  in. —  2|  in. 

[400-416.  Native  Imiiations  oi  (^vi'Ro-.MvchNAHAN  Ware 
(1-abric  xii)  are  described  on  p.  51  with  the  larger  vases,  453 
ff.,  of  the  same  st\le  in  lloor-(^ase  111,  and  in  succession  to 
the  C\  pro-M\'cenaean  \'ases  of  h'abric  xi  which  the\'  imitate.] 

FABRIC  XI.     (;ypro-.\iyci:nai-;an  ware 

CCJMI'AKH    I  LOOK-CASl;    III,    NOKIll    SlDl.,    NOS.    435-452  Wall 

Down  to  the  middle  of  the  seccjnd  milK-nnium,  C\'prus  seems  to  ,2 

have  experienced  \'cr\'  little  contact  with  [he  rest  of  the  AUtliter-  lower 

ranean  world;  but  during  the  period  of  enterprise  and  exploration  P'^'^'' 

45 


THE    COLLECTION    OF    POTTERY 

Wall  which  followed  the  fall  of  the  Minoan  lunpire  of  Knossos  in  Crete 
'■^2  (about  1400  B.  ("..^,"I.ate  Minoan"  or  "  ,M\cenaean"  colonies  were 
planted  in  (^\  prus,  as  on  man\'  other  coast-regions  of  the  Mediter- 
ranean, from  Palestine  to  Sicil\'.  An  approximate  date  is  given 
b\'  the  similarit}'  between  the  earliest  phases  of  st>le  which  are 
common  in  C^yprus,  and  those  which  have  been  found  as  imported 
objects  in  the  Palace  of  Amenhotep  IV  at  1  ell-el-Amarna  in  Eg}pt, 
which  was  built  after  his  accession  about  1380  B.  C,  and  deserted 
soon  after  his  death,  about  1365  B.  C.  These  colonies  attained 
to  great  prosperity,  introducing  and  propagating  the  arts  and 
industries  with  which  they  were  familiar  in  their  Aegean  homes. 
The  potter}'  of  these  colonists  is  characterized  b\'  a  very  fine  cream- 
coloured  clay,  and  b\'  the  use  of  highl}'  glazed  paint,  which  ma}'  be 
black  or  dark  brown,  but  more  commonly  has  been  burned  to  bright 
tints  of  orange  and  red.  The  ornament  of  the  commoner  vases 
is  simple  and  characteristic.  The  lower  part  of  the  body  has  broad 
bands  interspersed  with  groups  of  narrow  bands,  applied  mechanic- 
all}'  while  the  vase  was  on  the  wheel.  The  narrow  bands  were 
often  executed  with  a  multiple  brush,  such  as  was  already  familiar 
in  (>}'prus:  see  280  above.  On  the  upper  part  or  shoulder  a  broad 
zone  is  left  to  be  decorated  with  simple  patterns  drawn  freehand. 
The  commonest  are  conventional  flowers  (423,  424,  426),  which  are 
simplified  survivals  from  the  "Palace  Style"  of  Late  Minoan  Crete, 
and  are  further  reduced  to  geometrical  outlines,  which  in  their 
turn  are  conipiled  into  rich  schemes  of  basketr}'  (418,  419,  420, 
427,  431,  434),  or  filled  in  with  solid  colour  (425).  The  vases  are 
all  wheelmade,  and  their  s}'mmetrical  forms  consequently  offer 
strong  contrast  with  the  w'a}'ward  modelling  of  the  native  handi- 
craftsmen.    The  commonest  forms  are  these: 


418  424 

417-420.     PiKiroRM  Vashs,  with  pearshaped  bod}',  low  wide  neck, 
and  three  small  handles  on  the  shoulder.  Hs.  6|  in.—   ^l  in 


LATE    BRONZE    AGE.       FABRIC    XI 


421-422.     Pyxidhs,  with  upright  sides  and  neck  and  three  handles    ^^^" 
like  the  piriform  vases.         Hs.  3  in.,  3'  in.  ,2 

423-425.  "False-  nhckhd"  or"Stirrlp-ha\dled"  Vases,  with 
piriform  body,  tall  (423)  or  short  (424-5),  and  supplementary 
"false-neck"  at  one  side,  while  the  proper  neck  of  the  vessel 
is  closed  b\'  the  stirrup-shaped  handle  which  crosses  it.  Note 
the  characteristic  bod\-ornament  of  grouped  broad  and  nar- 
row bands.         Hs.  6,',;  in. —  4i\-  in. 

426-428.  Narrow-necked  Vases,  with  similar  body  and  handles, 
but  with  the  true  neck  prolonged  above,  and  left  open. 
Hs.  4I  in.,  42  in.,  5  in. 

429.     Plain-lipped  jiG,  with  one  handle.         H.3li;in. 

430-432.  Beak-spouted  Jugs,  inheriting  their  form  from  the  old 
gourd  t\pes,  but  translated  now  into  wheelmade  sjmmetry. 
Hs.  3-0-  in.,  2f  in.,  2s  in., 

433-434.      Open    Cups,    with    narrow    base. 

and    one    handle.     Note  that    434    has. 

below  the  handle,   an   incised   character 

ll-,  which  ma\-  belong  to  an  earh'  stage 

of  C\'priote  writing.     Ds.    if  in.,    5   in. 
The  popularity  of  miniature  vases  in  this  st\  le 

is  shown  b\'  430-433,  but  the  small  size  of  the  majorit}'  of  the 
"false-necked"  vases,  and  similar  t\'pes,  is  probably  due  to  their 
destination  as  toilet-furniture,  to  hold  ointment  or  perfume.  In 
this  respect  the\'  fulfil  the  same  function  as  the  ar>  balloi  and  leky- 
ihoi  of  the  Later  Iron  Age,  of  which  1716-23  are  examples  in  Floor 
Case  IX,  II. 

.Much  larger  and  more  elaborate  examples  of  .Mycenaean  fabric  arc, 
however,  fountl  occasionall\',  and  show  b\'  the  peculiarities  of  their 
form  and  decoration  that  they  representa  local  "Cypro-.M\"cenaean" 
fabric  with  a  well-marked  st\ie  of  its  own.  These  are  shown  on  the 
north  side  of  Floor-Case  III, 

435.  Di.Pi'  l)(n\L,  Willi  low  neck  bearing  nn 
each  siiie  a  con\entional  scroll-de^ign, 
enclosing  two  fishes  and  se\eral  motixes 
cliaracteri^tic  of  tlie  traUNilioii  from 
.\l\cenaean  to  geometrical  art;  cdo- 
ceiilric    sen-'-:c;rc!es,    latticetl    io/cnges,  4'o 

groii[-)s  of  parallel  lines,  accompanied  b\'  lateral  excrescences  ol 

47 


434 


THF    COLLHCTION    OF    POTTERY 


Floor 

Case 

III 

North 
Side 


black  paint.  Some  of  the  peculiarities  of  the  draughtsmanship 
are  repeated  on  nali\e  imitations  from  l.achish  and  other  sites 
on  the  Palestine  coast.  The  body  of  the  vase  is  wholly  covered 
with  the  customary  reddish-brown  paint.  The  designs  have 
unfortunalel)-  been  repainted  in  a  dull  pigment  like  that  of 
the  next  period;  the\-  are,  however,  certainl\'  ancient,  and  all 
the  old  lines  can  be  traced  beneath  the  restorations.  H.  8-|  in. 
4^6,  437.  Amphora  I,  with  piriform  bod\',  wide  neck,  and  two 
vertical  handles;  the  neck  of  each  is  completel\'  covered 
with  black  glaze  paint,  somewhat  red-fired,  especially  437; 
while  the  bod\'  has  plain  bands  below.  The  principal  zone 
or  frieze,  on  the  shoulder,  is  filled  with  chariots,  horses,  human 
ligures,  and  trees  (437)  or  plant-ornaments  (43O)  in  the  back- 
ground, rhc  drawing  is  of  the  childish,  unskilful  kind,  which 
is  characteristic  of  the  "Third  Late  Minoan"  period  in  Crete, 
and  of  the  later  tombs  at  M>cenae.  Many  similar  vases,  found 
in  the  British  Museum's  excavations  at  Enkomi  near  Salamis, 
show  that  these  chariot  scenes  were  very  popular  in  Cyprus, 
and  that  their  style  has  many  minor  peculiarities  which  mark 
it  as  a  local  C}'priote  school,  deri\ed  from  that  of  Late  Minoan 
Crete,  and  probably  to  be  dated  about  1350  B.  C.  Hs.  I4i''n 
in.,  i6|  in.  Cyprus,  p.  247,  268  (437,  436);  Perrot,  fig. 
525  (437).  11,  851-854. 


438-43.  "  I'ALSB-NhCKhn"  Vasi:S.  The  fine  example  438  is 
unusuall)'  large,  with  characteristic  ornament  of  grouped 
bands  as  on  423-425   in   Wall-Case    12.     The  shoulder  zone, 

48 


LATE    BRONZE    AGE.       FABRIC    XI 


VK,    Case 


however,  is  plain.    On  the  handle  are  incised  / 

sx'mbols  probabl}'  of  an  earlv  phase  of  the     ^ \ 

Cypriote  script.     It  is  discussed  with  other  ^- — ^' 

inscriptions  in  the  .Appendix.  439-443  are  of  more  ordinary 
sizes  (like  423-425  in  Wall-Case  12),  with  degenerate  floral  de- 
signs.        Hs.  15  in.  —  32  in. 


Floor 

Cas 

111 


442 


445 


44S 


449 


450 


444-446.  Cjlobii.ar  BoTTLhs,  with  narrow  neck  issuing  between 
two  vertical  handles,  like  426-428  in  Wall-Case  12;  444  has 
con\entional  flowers;  445,  concentric  circles,  and  446,  close 
spirals,  drawn  verticall\'  on  each  side  of  the  \ase,  as  if  it  were 
a  globular  flask,  a  scheme  of  ornament  which  becomes  very 
popular  on  jugs  and  flasks  of  the  l-.arl\'  Iron  Age  (see  Wall-Cases 
17-22,  and  particularly  the  note  on  ()25  in  Wall-Case  18). 
Hs.  3  in.,  3i  in.,  -jl  in. 

447-448.  PiRiioKM  Vasks,  like  417-420.  On  the  shoulder  of 
447  is  a  scale  pattern,  \er\'  common  in  this  st\ie,  and  pr(jbabl\- 
the  prot(jt_\pe  of  that  on  the  White  Slip  Ware  bowl  310  in 
I'loor-C^ase  1 1 :  on  448  is  a  row  of  detached  spirals  with  recur\ed 
ends,  as  on  the  cup  450.  Ms.  7JJ  in.,  61 «  in. 

49 


TIIH    COI.I.I-.CTION    OF    POITHRY 

lloor    ^^().     Pvxis,  w  ilh  llallciu'cl  bod)'  aiul  three  handles  on  the  shoulder 
".'j'';'  like  421-422,  and  the  pirilorni  \ases  417-20.      The  ornament  of 

\va\es  and  llaniboxant  leaxes  in  solid  black  is  rather  earlier 
than  that  of  most  of  the  (^\  juiote  examples  of  this  st>le  and 
belongs  to  the  "  Palaee  Sl\  le"  of  Knossos,  in  the  Second  Late 
Minoan    period,   about  1500-1400   B.  C.  H.  2I  in. 

4S0-4SI.  OiMN  (aps,  with  one  handle,  like  433-434:  on  450  is 
tlie  same  spiral  ornament  as  on  448;  on  45 1  angular  lines  form- 
ing a  degenerate  tloral  ornament  (compare  434  in  Wall-Case 
12).         Hs.  \l  in.,  I  U;  in.  II,  773  (451). 

452.  rMREE-H.\NDLED  Ami'hora,  with  piriform  body,  but  high 
neck :  between  the  three  handles  are  panels  of  geometric  orna- 
ment, premonitor)'  of  the  change  of  st\le  which  closes  this 
period.      H.  8§  in. 

FABRIC    XII.       NATIVE    IMITATIONS    OF    MYCENAEAN 
WARES 

Wall    In  the  centuries  \\hich  immediatelx'  followed  the  Aegean  coloni/a 

C;'se    tion  of  (]\prus,  gra\e  disturbances  in  the  .Aegean  itself,  of  which  the 

'"    great  Sea  Raids  against  l-'g\pt  from  1230  to  1195  are  a  sjmptom, 

part    caused    the  break-up    of    Late  Minoan    civilization,    and    isolated 

its  outposts,  both  eastward  and  westward,  from  Sicily  to  C\prus 

and  the  S\rian  coast.     The  C\priote  colonies,  had,  therefore,  now 

to  carr\'  on  their  arts  and  industries  without  support  or  inspiration 

from  the  mother-land.     One  result  of  this  is  the  replacement  of 

standard  pot-fabrics  b\-  natixe  imitations,  more  and  more  remote 

from  their  originals.     T\pical  are  the  tomb-groups  from  Kouklia 

(old  Paphos). 

In  these  "(^\pro-.M\cenaean"  fabrics  the  cla\'  is  less  smooth  and 
gloss\',  the  paint  becomes  dull,  like  that  of  the  old  nati\e  While 
Painted  Ware,  and  the  forms  awkward  and  heav}'.  The  painted 
ornament,  like  the  forms  of  the  \-ases,  passes  gradual!)'  awa>'  from 
the  free  curxilinear  art  of  the  .Aegean  settlers  into  the  geometri- 
cal sl\ie  of  the  l{arl\-  Iron  .\ge  (Wall-Cases  14-17).  b'or  example, 
the  line  "running  spiral"  which  is  characteristic  of  Aegean  art  is 
reduced  either  to  detached  groups  of  concentric  circles  or  to  a 
mere  wa\\'  line  (400-404,  406),  which  has  a  \ery  long  subsequent 
historx'  in  (^xpriote  potter\'.  Similarl}'  the  floral  ornaments, 
alread\-  degraded  (423,  427,  431)  pass  over  into  elaborately  inter- 
sected triangles  (411-415).  Compare  453-456,  460,  in  Floor-C^ase 
111. 

50 


LATE    BRONZE    AGE.       FABRIC    XII 

400-404.  Deep  Bowls,  with  rims  flaring  (400,  402),  or  upright  NN'all 
(401,  403,  404),  and  small  horizontal  handles.  The  double  ^^^ 
handle,  modelled  as  the  head  and  horns  of  an  ibex  (403),  the 
principal  wild  animal  of  the  island,  is  characteristic  and  prob- 
ably reminiscent  of  metalwork:  so  also  is  the  miniature  bowl 
perched  on  one  haiidle  of  400,  a  revi\al  of  the  old  nati\e 
pla\'fulness,  which  is  seen  more  clearly  still  in  the  next  group. 
Hs.  61  in. — 4I  in. 


412 


4>3 


410 


401-411.  F.AMASTic  AND  COMPOSITE  \"ases,  imitating  N'esscls  of 
cow's  horn  (405,  406),  or  turned  wood  (407,  40(S),  or  composed, 
like  400,  of  three  lentoid  flasks  joined  face  to  face;  410  is  prob- 
abh'  the  bod\'  of  a  model  chariot  like  that  figured  in  Ferrot, 
fig.  524;  compare  l^ritish  Museum  X'ases,  No.  C  1004. 
411  represents  a  popular  \'ariet\  of  animal-shaped  \ase. 
In  this  period  such  xases  almost  alvva\s  represent  either 
hfjrses,  wild  goats,  or  water-birds;  the  cattle  and  deer  of  the 
old    White    Painted    Ware   2o()-225    are    unusual    now.  Hs. 

HI  in. —  4i  in. 

112-414.  k  Ai.sK-NECKED  Vasi-s  of  hea\ier  form  than  the 
standard  forms  423-42S.  but  often  elaborateh'  painted, 
with  schemes  of  triangles  and  Lhexrrms,  the  last  descendants 
of  the  lilies  and  iris-flowers  of  the  Second  Late  .Minoan  st)le. 
Hs.  ()\  in.,  5:;;  in.,  41,',  in.  II,  77<S  (413.) 

51 


THH    COLLliCTION    OF    I'OTTHRY 

Wall   41,.     LjiNTOin  I-LASK,  like  ihoso  which  compose  the  fantastic  vase 
'■'^^  400.  with  a  characteristic  Irumpet-shaped  rim,  restored  in  this 

example.     (Compare  the   large  amphorai  of  the  next   period 
Soi-sfM  in  F"loor-C".ase  1\'.      H.  ()|  in. 

416.  C^ii.oiu  lAR  BoTTLH  with  two  horizontal  handles  set  low  down, 
and  tlaringlip.  Note  the  characteristic  ornament  of  concentric 
semicircles,  intersected  triangles,  and  wa\\'  lines.     H.  51V  in. 

With  these  examples,  of  a\erage  size  and  workmanship,  should 
he  compared  the  larger  and  more  elahorateh'  decorated  series 
4SV4(x)  on  the  south  side  of  Floor-Case  ill,  and  also  the  fantastic 
and  zoomorphic  vases  of  the  Iransitional  Period  or  Earliest  Iron 
Age,  which  are  shown  in  W'all-C^ase  14.  The  transition  indeed  is 
without   break  in  this  department. 

Fldiir  453-455.     "  F"ALSh-NHCKHD"  \'ases,  all  decorated  on  the  shoulders 
1^':  (like    412-414)    with    triangles,    \er_\'    elaboratel\-    filled    with 

different   kinds  of  linear  shading,  and  occasionall)'  with  sec- 
tions of  solid  black  also.  Hs.  9,^0  in.,  lOg  in.,  ^h  in. 

456.  Fantastic  \'ase,  with  flattened  bod\',  on  three  feet,  with  a 
horsc-hcad  spout  at  one  side.  The  handle  and  roof  of  the 
vase  are  dec(^rated  with  small  birds  modelled  in  the  round: 
and  the  bod\-  is  painted  with  wa\>'  lines  and  concentric 
triangles.         H.  0]  in. 

457.  Onh-handled  JL'o,  like  429;  with  the  usual  bod\-bands 
below:  on  the  shoulder  is  a  common  perversion  of  a  AU'cenaean 
flower-design.         H.  O,',!  in. 

45S.  Kylix,  or  drinking-cup,  on  a  high  foot.  It  imitates  a  form 
which  is  characteristic  of  the  standard,  but  is  heavier  and 
coarselx'  proportioned.  It  has  the  customarx'  ornament  of 
broad  bands,  and  groups  of  narrow  lines,  with  a  bod\'  zone 
divided  into  three  panels  b\'  vertical  lines,  with  accessor\' 
ornaments:  the  central  panel  contains  a  single  latticed  lozenge. 
Compare  the  later  and  still  more  degenerate  example  516  in 
Wall-C:ase  14.  H.  61^;  in. 

450.  OiMiN  Bowl,  with  a  binding  ornament  on  the  rim,  and 
concentric  triangles  like  those  on  453-435,  but  provided 
with  a  solid  black  centre.  H.  4J  in. 

460.  .A.MPHORA,  with  o\()id  bod\',  clumsx'  funnel-shaped  neck,  and 
two    horizontal    handles    set    rather    low    down.     Elaborate 

52 


LATE    BRONZE    AGE.       FABRIC    XII 

triangles  form  the  principal  shoulder-ornament,  with  wavy  Floor 
lines  like  400-404,  on  the  body  zone  and  on  the  neck.  The  ij'',^''' 
almost  complete  blackening  of  the  neck  recalls  that  of  \ases 


430 


434 


457 


of  standard  st>-le,  436-437,  452,  and  leads  on  to  the  black- 
necked  amphorai  of  the  Early  Iron  Age  501-507,  in  Iloor-Case 
1\'.         H.  I (),',;  in. 


53 


l^orrHRV  OF  THE    FARL^'    IRON  AGE 
AI50UT   1200-500  B.  C. 

WALL-CASES     I3-2(>    AND    FLOOR-CASES    IV-VIII 

^S  HAS  Ix'cn   alrcad\'   noted    (cf.  pp.  9  and  XXXI   IT.)   the 

/\        Karl\'  Iron  Age  opens  with  a  period  of  gradual  transition 

/     \      from  the  .Mxcenaean  or  Later  Bronze  Age  culture.      The 

phase  in  which  iron  gradualh'  supersedes  bronze  as  the 

customar}'    metal    for    weapons    corresponds    approximate!}'    with 

that  in  which  the  use  of  the  potter's  wheel  became  uni\'ersal   in 

(^xprus,  and  linall}'  displaced  the  old  handmade  fabrics. 

I  he    wheelmade    potler\'  of  the  Karl\'   Iron  Age  falls  casil)'    into 

three  principal  groups  of  fabrics. 

In  the  (irsl  or  Bucchero  group  (b'abrics  xiii-w)  the  cla_\'  is  of  a 
strong  colour  all  through,  usuallx'  either  black  or  red,  and  the 
decoration  is  elfected  b\-  modelling:  imitations  of  the  true  Bucchero 
fabrics,  and  intermediates  between  these  and  the  next  group,  are 
con\enientl\-  considered  in  connection  with  the  standard  t\pes 
b\-  wlu'ch  lhe\-  were  suggested.  This  Bucchero  group  graduall}' 
disajipears  in  the  ccjurse  of  the  Karl}'  Iron  Age,  and  was  entirely 
superseded  before  the  sixth  centur}'. 

In  the  second  or  White  Painted  group  (Fabric  xvi)the  clay  is  cream}'- 
white,  like  that  of  the  C}pro-.M\'cenaean  F-'abric  xii,  and  the  orna- 
ment is  painted  in  black;  often  enhanced  b}'  the  use  of  red,  and 
\er\'  rarel\'  of  other  colours  also. 

In  the  third  or  Ked  Painted  group  (babric  x\ii),  which  runs  through- 
out the  period  side  b\'  side  with  the  White  Painted  Ware  (.)f  h'abric 
x\i,  the  cla\'  either  is  (or  was  intended  to  be)  deep  red,  and  the 
dec<^rali(;n  is  in  black,  to  which  white  details  are  added  sometimes. 


F.\  BRIGS    XIII-XV.         CYPRIOTE    BUCCHERO    WARES 

^^  ^'11    This  name  is  con\enientl\'  applied  to  a  class  of  \'ases  made  of  black 
"'1'''    cla}',   in    forms   imitated   from   metal   protot}'pes,  like  those  of  the 

54 


EARLY    IRON    AGE.       FABRICS    XIII-XV 

Bucchero  wares  of  Etruria  and  other  parts  of  Europe.     The  clay    ^  all 
is  black  or  dark  grey  throughout,  but  occasionally  burns  red  when    ,^' 
over-fircd. 

Bucchero  Ware  appears  first  in  Cyprus  in  the  Later  Bronze  Age 
(p. 45),  during  the  period  of  Aegean  influence.  It  is  not  found  on  the 
Syrian  coast  or  in  Egypt,  and  probably  represents  one  of  the  arts 
introduced  by  the  Mycenaean  colonists.  The  earliest  examples  are 
built  by  hand,  and  the  external  decoration  of  rough  vertical  grooves, 
gores,  or  gadroons,  is  likewise  effected  wholly  by  hand,  or  with  very 
simple  tools.  Later  varieties  are  wheelmade,  and  pass  on  into 
the  Early  Iron  Age  fabrics  of  Bucchero,  which  are  shown  in  Wall- 
Case  13.  In  the  early  part  of  the  Iron  Age  these  fabrics  become 
common,  and  the  principal  varieties  deserve  to  be  classified 
separately. 

FABRIC   XIII.       BLACK   BUCCHERO  WARES 

These  wares  agree  in  their  intention  to  produce  vases  of  forms 
imitated  from  metal,  with  a  black  or  purple-grey  surface  like  that 
of  tarnished  bronze  or  silver.  But  they  produced  this  cflect  by 
different  means;  and  as  usual  the  practice  of  these  different  methods 
distracted  attention  from  their  original  aim,  and  introduced  decora- 
tive experiments  which  were  reallv  inconsistent  with  it.  Sooner 
or  later,  the  vase-painter's  instinct  asserted  itself  in  a  "painted 
style." 

(a)      TRUE     BUCCHERO,     WITH    CLAY     DARK-COI.OURED 
THROUGHOUT 

The  earliest  fabric  of  Cvpriote  Bucchero,  which  belongs  to  the 
Later  Bronze  Age,  and  is  handmade,  has  been  already  described 
as  I-'abric  xi;  it  is  represented  b\'  394-9  in  Wall-Case  11.  In  the 
Transitional  Period  of  the  Earliest  Iron  Age,  this  passes  o\er  into 
a  wheelmade  fabric,  in  which  the  cla\-  is  still  of  the  same  colour 
all  through,  and  there  is  no  surface-coxering  or  slip.  Later  fabrics 
of  self-coloured  cla\-  which  probabl\-  preserve  this  Bucchero  tradi- 
tion are  represented  by  4(S9-9(S  below. 

(/;)        IMMATED     BUCCHERO,     OI-     LICHT     CLAY,     UNDER     A 
DARK     SI, II'.       461-5:  4H5-H 

The  primiti\'e  self-coloured  fabric,  above  described,  was,  however, 
superseded  in  the  Transitional  Period  b}"  black-coated"  imitations 

55 


THH    COLLHCTION    OF    POTTHRY 

in  which  the  ddv  is  oi  the  common  cream-colour,  and  the  black 
surface  is  rendered  h\-  a  dark  slip.  The  true  character  of  the  clay 
appears  in  4SS,  4S(),  4SS  where  it  is  exposed  inside  the  neck.  The 
vases  of  this  fabric  are  all  wheelmade,  and  are  usuallv  much  larger 
than  those  of  the  primiti\  e  group.  Smaller  \  ases  are,  ho\ve\"er,  still 
fairl\'  common:  for  example,  the  spout-jug  (4^5),  the  oinochoe  (486), 
the  amphora  (4S7),  and  the  krater-amphora  (,488),  shown  with  other 
small  \ases  in  the  lower  part  of  Wall-Case  13.  The  principal  forms, 
which  are  common  to  this  and  the  following  group  (c)  of  "painted 
Bucchero,"  are  as  follows: 


461.  Oinochoe,  with  pinched  lip,  o\oid  bod_\',  and  usual!}'  a 
distinct,  well-modelled  foot.  H.  i  i  in. 

462-3.  Amphorai,  with  narrow  neck,  bod\-  like  that  of  the 
oinochoe  461,  and  two  handles,  which  are  usuallx'  surmounted 
b\'  a  small  horn  or  knob.  These  "horned"  handles  are  a 
sur\ival  from  the  Late  Bronze  Age,  and  are  highl\-  developed 
on  the  flat  plates  of  the  next  group,  46c)-70,  and  on  the  con- 
temporar\-  plates  of  the  White  Painted  Ware  5(x)-3  in  Wall- 
Case  16.  Hs.  I  lo  in.,  94  in. 

464-1.  "  Krater-a.mphorai,"  commonl\-  called  "kratcrs"  in 
C\prus,  with  wide  mouth,  and  vertical  handles  from  rim  to 
shcjulder.  The\'  stand  sometimes  on  a  low  foot,  465;  some- 
times on  a  high  one,  4(14.  On  one  handle  of  465  is  a  small 
bowl,  as  in  the  C\pro-.Mycenaean  vase  400  in  Wall-Case  12. 
Hs.  9^  in.,  8  in. 


56 


EARLY    IRON    AGE. 


FABRIC    XIII 


(c)       PAINTtD   BUCCHBRO,   OF   LIGHT  CLAY,    PARTIALLY 
BLACKEN  LD,   WITH   PAINTED  ORNAMENTS,    466-47O 

Developed  out  of  this  "black-coated"  fabric  is  a  peculiar  variety    Waii 
in  which  the  black  coating  and  grooved  modelling  are  only  applied    Case 
to  part  of  the  \ase;  while  other  parts,  where  the  natural  light-    '^ 
coloured  cla\-  is  exposed,  are  painted  with  panels  or  zones  of  geo- 
metrical designs  in  dull  black;  occasionally'  also  in  the  same  dull 
rjd  as  has  alreadx'  been  noted  in  the  Late  .Mx'cenaean  \ariet\'  393 
in  Wall-Case  1 1.     The  principal  stages  b\'  which  this  new  treatment 
gains  ground  are  illustrated  b\'  studying  these  \ases  in  the  following 
order;  466,  469-70,  467-8.     In   the   last-named,  the  black  surface 
is    reduced    to   a    minimum;    and    the    Black    Bucchero    st}le    is 
seen    passing    rapidl\-    into    a     merelx'     black-banded    variety    of 
Painted    White  Ware    (Fabric  x\i),   such    as    is    represented    b\- 
501-7  in  Floor-Case  IV. 

466.  Krater-amphora,  with  groo\'ed  surface  like  461-2,  and  black 
slip  on  the  lower  part  of  the  bod\-,  while  the  shoulder,  neck, 
and  handles  are  left  white,  and  painted  geometricallw  The 
handles  are  modelled  to  represent  the  head  of  a  wild  goat, 
like  the  handles  on  403  in  Wall-C^ase  12.         H.  cS,"',;  in. 

467-8.  OiNOCHOAi,  showing  a  further  departure  from  the  original 
type,  since  they  have  no  groo\ing  at  all.  Parts  of  the  \ase 
are  simpl\'  covered  with  a  black  coating,  but  this  coating  is 
of  exactly  the  same  composition  as  the  paint  employed  to 
decorate  the  parts  which  are  left  white.  The  ornaments  are 
all  of  the  triangular  forms  characteristic  of  the  C]\pro-.M\-cen- 
aean  fabric  400-16  in  Wall-C^ase  12.  H.  (.)\'i  in.,  61;!  in. 

469-70.  Flat  Plati-.s,  with  their  sides  grooxetl  and  covered  like 
their  h(^rned  handles,  with  black  slip.  Within  the  Hat  bottom, 
howe\er,  they  ha\'e  no  slip,  but  geo- 
metrical patterns  are  painted  in  black  and 
red  on  the  white  cla\'.  This  elaborate 
decoration  of  the  bottom  is  explained,  if 
we  remember  that  such  folates  were  doubt- 
less intended  lobe  hung  on  the  wall 
when    not    in    use;  tln-ir  inside   is  usualK'  4'") 

c|uile  jilain.  Compare  the  jilates  of  White  Ware  of  the  same 
{lerioLJ,  559-564,  in  Wall-fJase  16,  and  of  Red  Ware,  (857,  in 
Wall-(^ase  25.      l)s.  <S.\   in.,  9^  in. 


Wall 

Case 

1  ^ 


THI£    COLLECTION    OF    POTTERY 

FABRIC  XIV.       RED   BLCCHERO   FABRICS 

Side  b\'  side  with  the  later  stages  of  the  Black  Bucchero  fabrics 
there  occurs  in  Cyprus  a  well-defined  group  of  what  ma\'  he  con- 
venienll\-  described  as  Red  Bucchero  Wares.  The\-  range  in  time 
from  the  beginning  of  the  Iron  Age  —  where  the}-  succeed  the 
Wheelmade  Red  Ware  of  the  Later  Bronze  Age  (Fabric  \ii  in 
\\'all-(^ase  ii) — down  to  the  eighth  or  seventh  centur\-,  by  which 
lime  the\'  appear  to  ha\e  been  as  completel\-  superseded  b\'  the 
Painted  Red  Ware  8oi-()27  (Fabric  xx'ii  in  Wall-Ceases  24,  25,  26 
and  Idoor-Case  \'\\)  as  the  Black  Bucchero  b\- the  Painted  White 
Ware,  501-800  (babric  x\  i  in  Wall-Cases  14-23,  and  I'loor-Cases 
I\-\'l,  \ni). 

(a')       TRUE  BLCCHERO  WITH  RED  CLAY 
THROLGHOLT,  47  1 -478 

The  Red  Bucchero  Ware,  like  the  Black,  includes  several  varieties. 
"Fhe  standard  fabric  has  a  bright  red  cla\'  of  the  same  colour  through- 
out, capable  of  receixing  a  high  polish.  It  is  rendered  into  a  \'er\- 
characteristic  series  of  forms,  to  which  should  be  added  the  large 
amphorai  c)2o-i  in  Idoor-Case  \'I  I. 


47' 


■473 


470 


471-3.  OiNocHOAi  with  ovoid  bod\',  long  trumpet-shaped  neck, 
and  pinched  lip.  Occasional!}',  as  in  473,  this  form  has  its 
bod\-  pinched  together  into  a  flat  ring  shape  about  a  horizontal 
axis.         H.  92  in-  H.  9^-2  (473) 

58 


EARLY    IRON    AGE. 


FABRIC    XIV 


474-475.     OiNOCHOAi,  with  the  neck  narrower  insteadofwiderabove, 
recalling  a  well-known  bronze  type  (4919)  in  the  Collection  of 
Bronzes:  on  474  is  an  inscription  \]  <^   /  m    apparentl\'  which 
is  discussed   with   other   inscriptions   in  the  Appendix. 
Hs.  64  in.,  9I  in. 

476-478.  Handle-ridgh  Jugs,  with  characteristic  bod\'  of  an 
angular  pear  shape;  the  neck  has  a  slight  ridge  where  the  handle 
joins  it,  and  the  rim  is  either  \'er\'  broad  and  flat  (476,  477), 
or  else  trumpet-shaped  (478).  This  t\pe  with  its  "handle- 
ridge"  recalls  one  of  the  commonest  forms  in  the  Base-Ring 
Fabric  of  the  Later  Bronze  .Age  (338-343  in  Wall-Case  10);  and 
itself  persists  until  the  later  Graeco-Phoenician  period.  The 
significance  of  this  sur\i\al  will  be  discussed  more  in  detail 
under  643  fT.  in  Wall-Case  19.         Hs.  94  in. — 6.>  in. 

(b)       RED     BUCCHERO     FABRIC    WITH     PAINTED    ORNAMENTS 
ON     A   LIGHTER  CLA^',  479-484 

Side  b\'  side  with  the  standard  Red  Bucchero,  there  are  found  a 
few  intermediates  passing  from  this  towards  the  Painted  Red  Wares 
of  I'abric  x\ii. 


Wall 
Case 
'3 


j7()-Si.  HANDi.E-RiDGf;.  JuGS,  with  the  characteristic  flat  rim 
alread\-  noted  (476  (T.),  but  globular  b()d\'  Its  cla\-,  which 
is  light-coloured,  is  exposed  on  the  neck,  aiul  has  the  same 
black  and  red  i^aint  as  the  Hat  jMales,  460,  470.  The  rest 
of  the  bo(l\,  ho\\e\er,  as  well  as  the  broad  rim,  i^  coated  with 
a  bright  red  sli[i  like  thai  of  the  Retl  l)iicchero,  and  has  been 
carefull\'  polished  in  imitation  of  it.  On  the  under  side 
ol  4S0  ;in(l  on  the  nd  surface  of  4S1  ;ire  incised  inscriptions 
in  the  (^\'i)rioIi'  s\llabic  writing  ,  -' '< ,  \,  ^^  5r  "^^  and  on 
479   an  insLTiption   m    Phoenician   '"1^.'   characters  H//',*'- 

59 


THF.    COLI.FCTION    OF    POTTHRY 

\^ ''"  lliese  arc  clisLiissiHi  with  other  inscriptions  of  the  same  classes 

se 


in  the  Appendix.  lis.  5,',;  in.,  6^  in.,  5.[  in 


4(S2-^  Kr.mi-rs,  or  witle-moulhed  amphorai,  with  vertical 
handles.  On  4H2  we  ha\e  an  imitation  in  the  Red  Bucchcro 
ot'  the  gro()\ed  bodx'  and  wide  neck  of  the  Black  Bucchero 
st\le:  there  is  not  \et,  however,  any  paint  even  on  the  parts 
of  the  \ase  which  are  not  grooved.  In  483,  the  grooving  of  the 
liodx'  is  careless  and  unmeaning,  and  the  smooth  parts  — 
shoulder,  neck,  and  handles  —  are  decorated  with  the  ordinary 
L^lack  paint  of  the  Painted  Red  Ware  (l-'abric  xvii  in  Wall- 
Ceases  24-26).         Us.  5}  in.,  58  in. 

484.  OiNOf.noii,  showing  complete  intermixture  of  the  Black  and 
Red  st\les.  The  cla\'  is  light-coloured;  the  lower  part  is 
painted  black  and  roughly  grooved,  while  the  upper  part  is 
painted  red,  and  decorated  with  black  and  white  paint,  like 
the  later  \arieties  of  the  Painted  Red  Ware  (compare  913-O 
in  Wall-C-ase  25).  This  vase  is  probabl)'  not  much  earlier 
than  the  fifth  centur\'  B.  (1,  and  marks  the  last  \anishing 
stages  of  the  Red  Bucchero  st\le. 

485-8  are  small  vases  of  Fabric  xiii  [b)  placed  here  for  convenience, 
but  described  on  p.  55,  under  that  heading.  Hs.  5  in. — 

44  in. 

FABRIC    XV.       GREY  WARFS  AKIN  TO  BUCCHERO 

Other  fabrics  of  unpainted  grey  or  black  cla\',  belonging  to  the  Earl}' 
Iron  Age,  either  imitate  the  forms  of  the  C\  priote  Bucchero,  or  of 
the  Red  Painted  Ware  of  Fabric  xvii,  or  copy  independently,  like 
the  Bucchero  itself,  from  originals  in  metal.  H.  6^  in. 

489.  OiNOCHOH  of  graceful  form,  with  distinct  foot,  o\oid  bod\-, 
slender  tapering  neck,  and  voluminous  trefoil  lip;  the  handle 
was  flat,  but  is  missing.  The  cla\'  is  dark  and  tough,  and  there 
is  a  dense  sooty-grey  slip.  On  the  shoulder  are  concentric 
triangles,  incised  before  the  black  slip  was  applied.  At  the 
junction  of  shoulder  and  neck  is  a  well-marked  ridge,  suggesting 
a  metallic  original.  This  fabric  is  \er\'  rare,  but  seems  to  be 
native,  and  to  belong  to  the  Transitional  Period  of  the  Earl}' 
Iron  Age. 

490.  OiNOCHOH  of  pale  gre}'  cla\'.  slightl}-  burnished,  with  the 
groo\ing  imitated  by  incised  lines.  H.  4  in. 

60 


EARLY    IRON    AGE.       FABRIC    XV 

491-4.  Miniature  Vases  of  pale  grey  clay,  not  burnished,  and 
closely  following  the  characteristic  forms  of  the  Red  Painted 
Ware  801  fif.  in  Wall-Cases  24-26;  oinochoai  491-2,  flat-rimmed 
jug  493,  and  wide-mouthed  krater-amphora  494. 


Wall 
Case 
13 


495-6.  Bowls  with  Lotos  Handles  boldly  modelled  in  imitation 
of  those  on  bowls  of  bronze  such  as  4914-15  in  the  Collection 
of  Bronzes:  495  is  in  the  same  grey  clay  as  491-4;  496  is  an 
imitation  in  a  reddish  clay  with  a  poor  black  slip.  Ds.  2| 
in.,  4I  in. 

457.  OiNOCHOE  of  the  long-necked  form  471-3,  characteristic  of 
Fabric  xiv;  but  in  a  grey  clay  rather  darker  than  491-5.  H.  5  fV 
in. 

498.  OiNOCHOH  of  a  form  resembling  497,  in  a  rare  and  finely 
polished  fabric  of  quite  black  clay.  1  he  form  occurs  in  the 
sixth  centur}',  both  in  clay  and  bronze,  but  this  example  may 
well  be  earlier,  to  judge  from  its  fabric  and  handling. 

H.  4.1  in. 

499.  Deep  Bowl  with  upright  sides  and  moulded  surfaces,  in 
a  light  clay  with  coarse  black  slip.  Its  date  is  uncertain. 
H.  2I  in. 

500.  Pii.r.[?LM-BOTTLE,  of  coarse  and  unusual  fabric,  with  relief- 
modelled  surface  and  thick  black  slip  on  light-coloured  clay, 
of  i]uite  uncertain  date.  Cjjkjnna-C^eccaldi,  Monuments^ 
PI.  xxix,  29.     H.  54  in. 


()i 


THE    (.OLLI-C.nON    OF    POTTERY 

lABRlc;   XVT.       WHITl-;    PAINTED  WARE 

This  is  b\'  far  iho  commonest  and  most  characteristic  fabric  of 
potter\-  in  C]\prus  throughout  the  Iron  Age.  In  the  course  of 
nearly  eiglit  centuries,  from  before  looo  B.  C  till  after  300  B.  C, 
its  main  features  of  technic]ue  and  form  remain  essential!}'  the  same, 
and  it  is  often  difficult  to  assign  more  than  an  approximate  date  to 
indi\idual  examples  on  the  sole  ground  of  st\'le.  Within  this  long 
period,  however,  certain  changes  of  fashion,  both  in  the  forms  ot 
the  vases,  and  in  their  painted  decoration,  are  easil\'  recognized; 
and  their  general  sequence  has  been  ascertained  b_\'  the  agreement 
of  observations  on  all  the  principal  sites. 

From  417-34,  435-5:2  (in  Wall-Case  12,  and  on  the  south  side  of 
Floor-Case  III)  it  is  alreadx' clear  how  Fabric  xi,  the  wheelmade 
and  glaze-painted  potter}'  of  the  Alx'cenaean  settlers,  degenerated 
into  the  C\'pro-.M\'cenaean  Fabric  xii,  when  these  colonies  were 
isolated  at  the  ch^se  of  the  Late  Alinoan  .Age.  With  this  Fabric 
xii,  the  White  Painted  Wares  of  the  Iron  .Age  stand  in  intimate 
relationship;  and  it  is  partlx'  for  this  reason  that  the  name  "Trans- 
itional" is  applied  to  the  earl}'  period  of  the  Iron  .Age. 
The  name  "Graeco-Phoenician,"  which  has  been  frequently  gi\'en 
to  the  whole  of  the  Iron  .Age  culture  of  C\prus,  expresses  the  current 
belief  that  throughout  this  long  period  C}'prus  was  an  object  of 
constant  rivalr}'  and  competition  between  Greek  and  Phoenician 
adventurers.  It  does  not,  howex'er,  do  justice  to  the  fact  that  the 
so-called  "Graeco-Phoenician"  st}  le  was  de\cIoped  and  attained 
all  its  characteristic  features  in  circumstances  of  isolation;  and 
that  both  its  Phoenician  and  its  Greek  elements  are  secondary  and 
late.  The  art  of  C}prus  in  the  Iron  .Age  is.  in  fact,  neither  Greek 
nor  Phoenician  essentiall}'.  It  borrows  something  from  both,  but  in 
its  earlier  and  formative  stages  its  qualit}'  has  been  well  described 
as  "Sub-Al\'cenaean";  that  is  to  sa}',  it  combines  copious  sur\'i\als 
of  C}'pro-Al\cenaean  tradition  with  an  increasing  inabilit}'  to 
practise  curxilinear  design,  and  frequent  resort  to  purel}'  geometri- 
cal moti\es.  These,  though  in  part  due  to  the  new  "geometric" 
art  which  characterizes  the  Earh'  Iron  .Age  in  niosl  (ireek  lands, 
between  looo  and  700  B.  C,  are  \'et  in  part  also  a  nati\  e  inheritance 
from  the  slitT  basketr}'-ornaments  of  the  Aliddle  Bronze  .Age,  and 
particularl\'  from  the  Painted  White  Wares  of  Fabric  iii  (^Wall- 
C^ases  5,  (),  7J. 
The  general  course  of  development,  which  is  complicated  and  in 

62 


EARLY    IRON    AGE.       FABRIC    XVI 

parts  still  obscure,  can  be  best  illustrated  b\'subdividing  the  culture, 
which  in  other  parts  of  the  Mediterranean  and  European  world  is 
known  as  that  of  the  Early  Iron  Age,  into  three  principal  periods: 
Earl\',  Middle,  and  Late.  The  Earl\'  period  is  l>ansitional  from 
C\pro-.M>cenaean  freehand  and  curxilinear  art  to  purel\-  mechani- 
cal and,  for  the  most  part,  rectilinear  ornament.  In  the  Middle 
period,  the  decoration  is  purel\'  Geometrical,  and  an  approximate 
date  is  suggested  by  its  rare  loans  from  the  geometrical  art  of  the 
Northwest.  The  Late  period  is  that  in  which  foreign  influences 
reappear,  at  first  predominantly  Oriental,  but  later  also  Hellenic. 
It  is  this  later  period  which  alone  is  accurately  described  as  "Graeco- 
Phoenician"  in  the  present  state  of  our  knowledge.  Strictl}' 
speaking,  this  period,  in  which  foreign  influences  predominate,  is 
prolonged  into  historic  times;  but  since  a  fairlv  clear  line  can  be 
drawn  between  an  earlier  phase,  in  which  the  new  suggestions  arc 
•issimilated  b\'  the  Cypriote  craftsmen,  and  a  later  one  when  im- 
ported objects,  mostl\-  Greek,  compete  with  and  at  last  o\erwhelm 
the  native  industries,  it  suits  the  localitN',  and  is  also  in  accon.1- 
ance  with  usage  in  other  regions,  to  close  the  "Earl\'  Iron  Age," 
in  an  archaeological  sense,  at  this  crisis,  and  assign  all  the  period 
of  competitive  decadence  to  a  "Hellenic,"  or  full}'  historic  .Age. 
The  manifold  dev'elopment  of  forms  and  ornaments  is  best  studied 
b\'  grouping  tvpical  vases  in  scries,  each  illustrating  a  siiigle  aspect 
or  feature,  and  treating  these  in  the  (jrder  in  which  each  mark  of 
progress  appears.  The  series  exhibited  in  \\'all-(^ases  14-22,  and 
Idoor-C^ases  l\'-\'ll,  IX.mav  accordingly  be  subdivided  as  folkjws, 
to  supplement  the  more  summarv  classilicalion  on  ]\  ,4,  above. 

HAF^LV    OR    TRAXSITIONAI.    IM.RIOD 

(a)  Earlv  f'orms  with  (^.ypro-.\lvcenaean   and   Pre-.Mvcenaean 
survivals.      501-304. 

Minni.l;    OR    (.(lOMI/IRIC.AI.     IM-.KIOI) 

(b)  \'ascs  with  geometrical  panel  drLoral  ion.      S()t-7- 

(c)  Vases  with  "i^lam-bodicil  "  schmies  (j!  decoration.       t()N-(i. 

(d)  \'asesv\ith  "concent  ru  circle"  ornameiil .      Ooo-j. 

fe)      X'ases  with  fullv  de^  eloped  geoniel  ri^al  decoration.     ()oS-i(). 

(f)  Masks  and  Barrel-jugs.     ()i7-42. 

(g)  1  landle-Kidge  jugs,  ;iiid  other  .Miniature  \'ases.     O43-O4. 


THE    COLLHCTION    OF    POTTERY 

LATE   OR   GRAECO-PHOHMCIAN    PERIOD  OF   MIXED 
ORIENTAL    INFLUENCES 

(h)     \'ascs  with  panels  and  friezes  enriched  with  lotos  ornament. 

665-702. 
(i)     Oinochoai      with    "vertical-circle"    ornament,     sometimes 

similarl\'  enriched.     703-20. 
(j)      Oinochoai  of  "plain  bod}"  t\pe,  decorated  with  birds  and 

animals.     721-40. 
(k)     Other  s\mptoms  of  Oriental   influences;  vases  with   blue 

paint  and  pol\'chrome.     741-50. 
(1)      X'ases  with  fullx-formed  pictorial  designs.     751-75. 

HELLENIC  age:  EARLY  OR  HELLENIC  PERIOD 

(m)    Coarse  and  degenerate  varieties,  sometimes  influenced  by 
Hellenic  ornament,  776-800. 

It  should  be  remembered,  however,  that  in  a  mixed  st\  le  such  as 
that  of  the  White  Painted  Ware,  most  vases  illustrate  more  than 
one  aspect,  and  are  available  to  supplement  other  series  than  that 
in  which  the\'  are  actually  described;  also,  that  the  chronological 
range  of  Red  Painted  Ware  of  Fabric  xvii,  in  Wall-Cases  24-26,  is 
almost  as  great  as  that  of  Fabric  xvi,  and  that  on  man\'  points  its 
progress,  though  simpler,  offers  instructive  commentary  on  that  of 
the  richer  and  more  varied  White  Ware. 

As  the  course  of  de\elopment  is  complex,  and  the  relative 
date  of  the  ditTerent  groups  often  obscure,  the  subdivision  of  the 
Earl\'  Iron  .Age  to  which  each  group  chiefl\'  belongs  is  only  indicated 
approximatel\"  in  what  follows.  Each  group,  however,  ma\'  be 
regarded  as  coming  into  vogue  approximatel>'  in  the  order  given 
here. 

(a)       EARLY    FORMS,    WITH    MYCENAEAN    AND    PRE-MYCENAEAN 
SURVI\ALS,   501-594 

The  Transition  from  .\l\'cenaean  or  C\pro-.M\xenaean  forms  such 
as  400  tf.,  453  tf.  in  Wall-Case  12  and  Floor-Case  1 1 1  to  the  next 
subsequent  phase  of  White  Painted  Ware  is,  as  already  noted, 
gradual.  The  onl\'  turning-point  of  importance  is  furnished,  not 
by  the  pottcr\-  at  all,  but  by  the  weapons,  which  rather  suddenl}' 
substitute  iron  for  bronze  as  their  principal  material.  The  signifi- 
cance of  this  is  discussed  in  the  Introduction  (p.xxxi  ff)  and  in  the 

64 


EARLY    IRON    AGE.       FABRIC    XVI 


account  of  the  CLoUection  of  Bronzes;  see  in  particular  the  swords 
(4725-6)  which  may  belong  to  this  period  of  transition.  The  tombs 
of  this  phase  are  best  studied  in  the  small  cemetery  of  Kouklia  close 
to  Paphos,  and  in  a  series  of  objects  presented  by  Cesnola  to  the 
Ro\al  .Museum  of  Turin  which  are  described  as  obtained  b>'  excava- 
tion at  a  place  near  Larnaca,  called  Dades.  A  few  tombs  of  the 
same  phase  have  been  excavated  at  Amathus,  and  the  contents  of  a 
\erv  fme  one,  now  in  the  Grassi  Museum  at  Leipzig,  are  published 
in  Liverpool  Annals  of  Archaeology,  Vol.  111.  Tomb-groups  from 
Katydata-Linu  near  ancient  Soli,  now  in  the  Berlin  Museum,  are 
only  slightl}'  later.  The  principal  forms  which  characterize  this 
earliest  phase  are  as  follows: 

501-7.  Large  .Amphorai,  with  purel}'  geometrical  ornament.  Floor 
The  ovoid  bod\'  and  somewhat  funnel-shaped  neck  of  501  are  ^^^^ 
derived  from  a  C\pro-.M\cenaean 
type.  The  neck  is  almost  entirely 
covered  with  the  broad  and  narrow 
black  bands,  alread}'  noted  on  the  pro- 
tot  \'pes  423,  438,  45H,  and  enriched 
with  a  series  of  latticed  lozenges,  like 
those  of  the  Painted  White  Ware  of 
the  Bronze  Age,  but  so  heavily  drawn 
that  the  ornament  appears,  at  first 
sight,  to  be  in  white  on  a  black 
ground.  On  the  shoulder  are  latticed 
triangles  and  rectangular  panels,  sepa-  ,, ,  i 

rated  b\'  groups  of  parallel  and    wa\\' 

lines.  These  panels  are  the  beginning  of  a  st}-le  of  panel  decora- 
tion which  becomes  \er\'  popular  later.  The\'  are  filled  with 
lozenges,  containing  latticed  chequers,  as  on  the  cup  458  in 
Floor-Case  111.  1  he  outlines  of  the  lozenges  sometimes  cross 
one  another  at  the  angles,  so  as  to  form  small  triangles  of  solid 
black;  a  trick  which  is  (jften  repeated,  with  exaggerations,  in 
vases  of  slightl\'  later  date.  The  small  projection  at  the  base  of 
the  neck  on  each  side  of  the  \ase  recalls  the  decoratixe  "string- 
holes"  of  the  Bronze  Age  potter\';  see,  for  example,  34  in 
\\'all-(^ase  2,  and  iss.  1  =><').  i(>o  ff.,  in  Wall-Case  4;  compare 
also  the  horns  which  decorate  many  \'ases  of  this  period;  for 
example,  504-5o()  in  this  l'loor-(^ase,  and  4O2  in  Wall-Case  13. 
502-503  are  of  almost  exactlx'  the  same  st\'le  as  501;  in  502 
there  is  onl\'  one  panel  on  each  side  of  the  body,  and   the 

O5 


Wall 
Case 


THE    COLLECTION    OF    POTTERY 

swastika  nz 'ippcars  as  an  accessor)- ornament,  ason  595-7  in 
Wall-Case  17.   .  ll,8()3,  8O1  (502,  503). 

504-51)5  show  these  large  \ases  in  a  slightly  later  phase  of 
develofiment.  ihe  bodv  is  hea\  ier  in  form,  the  neck  is  shorter, 
and  the  rim,  instead  of  being  thin  and  finely-shaped,  has  the 
appearance  of  being  turned  back  upon  the  neck  in  a  hea\\' 
roll  of  cla\-,  painted  with  a  simple  zigzag  pattern.  The  neck 
and  bod\-  ha\e  the  customary  broad  bands  and  groups  of 
\ertical  "jianel-lines."  The  panels  contain  alternately:  (a) 
rude  get)metrical  trees,  with  pairs  of  concentric  circles  (compare 
600-7  below)  in  the  field  between  them;  (b)  a  latticed  lozenge, 
of  which  the  angles  are  overshot  as  described  above  so  as  to 
form  large  triangles:  those  at  the  sides  are  tilled  with  solid 
black,  and  those  at  top  and  bottom  with  lattice  work.  71ie 
shoulder  zone  has  no  ornament  at  all,  and  the  bod\'  only  the 
characteristic  "wa\y  line." 

506  has  the  latticed  lozenges  and  triangles  replaced  by  vertical 
latticed  bands,  di\iding  each  zone  into  a  number  of  empty 
panels.  On  the  zone  between  the  handles  there  are  no  panels, 
but  in  their  place  the  characteristic  wav\'  lines  already  noted. 

507,  a  smaller  and  very  common  variety  of  the  same  t\'pe, 
reduces  the  neck  ornament  to  the  simple  scheme  of  broad  and 
narrow  bands.      Hs.  2  ft.  4^  in.  —  4sin-        C^\'prus,  p.  65  (505). 

11,  866,  867  (504,  505). 

Wall    The  siime  sur\i\al  of  (]\  pro-.M\cenaean  traditions  is  well  seen  in 

c:ase    the  large  series  of  earl\-  t\'pes  shown   in   \\'all-(]ases    14-15.     The 

"^    most  important  innoxalion  is  the  use  of  a  dull  red  paint,  either  to 

till  interspaces  in  black  designs,  or  independent!)'  for  broad  bands 

on  the  b()d\-.      This  red  paint  is  itientical  with  that  alread\-  noted 

on  a   rare  \ariet\'   (395)  of  babric  i.x,  which  belongs  to  the  L,ater 

Bronze  Age;  red  is  also   \'er\'  occasional!)'  introduced   on   pro\'in- 

cia!    fabrics  of  Aegean  or  Al)'cenaean  ware  li.ke   Fabric  xii.      But 

it  is  onh'  in   tlie  Iron   Age  of  C)'priis  that   its  use  becomes  at  all 

popular.      Ihe  relation  of  the  (^)priote  red  paint  to  that  on  the 

geometrical!)'  decorated  potter)'  of  ear!)'  Boeotia  and  of  Apulia  is 

still  obscure. 

508-10.     Amphokai,   with   alternate   broad   bands   and    groups   of 

tine  lines;  the  characteristic  wa\')'  line  is  conspicuous  on  the 

b()d\'.     (j)mpare    535-8    at    the    top    of   Wall-Case    15.     The 

subsequent  hist(jr)'  of  tliis  t)'pe  of  amphora  is  shown  b\'  552-3, 

66 


EARLY    IRON    AGE.       FABRIC    XVI 


which  ma\'  probably  be  dated  to  the  eighth  or  seventh  cen-    ^^  ^^" 
tury  B.  C.         Hs.  iGl  in.,  \6\i  in.,  15I  in. 


511.  Bowl  on  High  I'oot,  with  horizontal  handles,  and  wavy- 
line  ornament  on  the  bod}'.  The  clums}'  angular  form  and 
degenerate  ornament  almost  completely  disguise  its  real 
dependence  on  Cypro-M\'cenacan  tradition:  compare,  how- 
ever, the  \ases  of  a  less  barbaric  phase  400-404,  in  the  upper 
part  of  Wall-Case  12.         H.  ()l  in. 

512-515.  Cl.ay  Tripods,  though  not  \'ery  common  in  C2\prus, 
are  characteristic  of  the  geometrical  art 
of  (jreek  lands  during  the  Early  Iron  Age: 
the\-  are  imitated  from  bronze  tripods 
like  4704,  4705.  The  tripod  513,  paint- 
ed with  plants,  animals,  and  human  fig- 
ures, illustrates  the  rude  \igour,  but  also 
the  extreme  childishness  of  the  pictor- 
ial art  in  C}'prus  during  this  period. 
It  shows  traces  of  re-painting,  but  the 
main  elements  of  the  design  are  certainly  ancient.  Hs.  7  in. — 
3i'V,  in.     Cv'prus,  PI.  xliv  (513).  II,  gH^,  984  (512,  513). 

516.  Kylix  OR  Drinkinc.  Cup,  with  geometrical  ornament.  Ihis 
is  again  a  clumsy  copx'  of  an  old  /\egean  form.      The  C\pro- 


14 


.M>'cenacan  intermediate  is  45<S  in  Floor-Case  III. 


H.4; 


517-19.  Animai.-iii:ai)i-,i)  \'asi,^,  with  glohuK'ir  hodv  on  a  high 
foot  like  that  of  k\lix  =,](>  .ind  the  liowl  s'l.  The  handle 
forms  a  lo(jp  across  the  upper  ^ide,  as  in  521  If.  below.      1  hough 

67 


Wall 

Case 

14 


THE    COLLHCTION    OF    POTTERY 

the  animal's  head  is  modelled  b\'  hand,  the  hod\'  and  foot 
are  wheelmade,  and  have  the  characteristic  red  and  black 
hands.  The  later  date  of  51c)  (indicated  bv  its  "concentric- 
circle"  ornament;  compare  ()0()-7  below)  is  evidence  how 
persistent  is  this  C\priote  love  for  fantastic  and  particularly 
for  animal-shaped  vases.  Hs.  8^  in.,  8  in.,  84  in. 

11,815  (517)- 
20.     False-nhckkd  \'.ash:  an  angular  and  blundered  cop\'  of  the 
old   C.ypro-Al\cenaean    form.      The  ornament    is   pureh'  geo- 
metrical, and  includes  red  paint  as  well  as  black.     H.  4^  in. 

21-3.  Ring-\'ases,  consisting  of  a  hollow  annular  base,  with  a 
strap-handle,  and  one  or  more  mouths,  formed  by  miniature 
\-ases  standing  on  the  ring.  These  curious  objects  seem  to 
originate  from   the   ring-bodied   vases  of  the   Middle   Bronze 


522 


Age  201-2  in  Wall-Case  5,  which,  however,  have  still  only  one 
spout.  B\'  multiplication  of  the  neck,  as  in  521-3,  and  b\' 
the  addition  of  other  small  models  of  \ases  perched  upon  the 
main  ring,  though  the\'  do  not  alwa\s  communicate  with  its 
cavity,  a  special  and  elaborate  \ariant  is  de\eloped  in  the 
Earl\'  Iron  Age,  probably  to  represent  meat  and  drink  offerings 
which  formed  part  of  the  funerarx'  ritual.  To  express  this 
meaning  more  clearl\-,  S2i  includes  also  a  figure  of  the  wor- 
shipper who  brings  the  offerings,  and  wears  a  ram's  head  mask. 
Compare  the  Ring-Vases  in  Red  Painted  Ware  (8c)C)-qo2),  in 
Wall-(]ase  26;  the  funerary  groups  in  stone  (1020,  1142  il.) 
and  terracotta  (2116  fl.),  and  the  masked  dancers  (1030  ff.). 
Ls.  lOi'o  in.  —  7  in. 

524-34.  Animal-shaphd  X'asf.s,  like  those  of  the  Middle  Bronze 
Age;  a  curious  instance  of  the  revi\al  of  an  old  natixe  custom, 
when  foreign  influences  relaxed.     The  stx'le  \aries  from  rude 

68 


EARLY    IRON    AGE.       FABRIC    XVI 

naturalism  to  an  extreme  con\'ention  in  which  the  mouth  of   \^:ill 

the  creature  is  trumpet-shaped  and  wheelmade  like  an  ordi-      '^^'"' 

■  '4 

nary   vase-neck.     The  commonest   anmials  are  the  lion,  524, 

and  the  horse,  525-6;  the  latter  is  laden  with  two  amphorai, 

and  runs  on  four  wheels.     Probably  some,  and  perhaps  all,  of 

these  objects  were  intended  as  children's  to\'s.     The  birds  527- 


S26 


332 


33  are  usuall)'  ducks;  like  most  of  the  animals,  they  are  gaily 
painted  with  geometrical  ornaments  in  black  and  red.  The 
small  bird-vase  534  is  wholl\-  wheelmade,  and  belongs  to  the 
rather  later  period  in  which  concentric  circle  decoration  pre- 
\ails:  compare  600-7  ''"i  Wall-Case  17.  Ls.  12;^  in. —  3^  in. 
Doell,  x\i,  19,  4035  (529).  11,  819  (524). 

t35-8.  Ami'MORai  of  \arious  earl\"  and  clums\'  forms,  all  decorated 
in  the  same  mainl\'  geometrical  st\le  as  508  If.  in  W'all-C^asc 
14.  On  53()  the  triple  handle  is  a  characteristic  experiment. 
(Compare  the  large  Red  Ware  \'ases  c)20-2  in  Floor-Case  \'II. 
Ffs.  131;';  in. —  8',  in.         ("xjirus,  PI.  ii,  top  right  (536). 

5  3().  Pi. ATI:,  painted  on  the  underside,  so  as  to  show  its  ornament 
when  suspended  on  a  wall.  I'his  example  is  placed  in  this 
earliest  series,  because  it  appears  to  be  of  the  local  fabric 
of  Kouklia  (p.  sC  which  is  l\pical  for  the  whole  group. 
The  fcjrm,  howe\  er,  is  that  of  the  plates  of  (^xjiriole  Bucchero 
fabric  469-70  in  W'all-C^ase  1  v.  and  the  large  series  of  rather 
later  plates  559  If.  in  \\'all-(^ase  i().  1).  8  ,■'„  in. 

540.  Si'oL-i-Juo,  with  narrow  neck  and  wheelmade  trough-spout 
in  one  side.  These  spout-jugs,  whicli  haxe  a  long  ancestry 
in  the  luirlier  Bronze  Age,  ;ire  rare  in  the  .\l\cenaean  and 
(^x'firo-.Mwenaean  fabrics,  but  become  commoner  in  the 
Earl\-  Iron  Age.  Later  the\'  gi\e  rise  to  nian\'  picturesc]ue 
varieties  with  deLorali\'e  spouts,  92()-()55,  in  W'all-C^ases  27,  28. 
This  examjile  closely  resembles  the  t\'pical  Kouklia  fabric. 
()9 


Wall 
Case 


Wall 
Case 


THE    COLLECTION    OF    POTTERY 

It  is  also  notoworth)'  for  the  earl\'  introduction  of  the  swastika- 
ornament  Pl  as  (.leeorali\e  moli\  e:  for  other  examples  of  this 
design  see  the  Index  s.  w  swastika.  11.  7^,  in. 

341-2.  Ri;t;TANtui.AR  Travs,  made  in  imit.ition  of  Hat  baskets, 
as  is  shown  hv  their  eharacterislic  horned  handles,  like  those 
of  the  Biieehero  plates  in  Wall-Case  13,  and  the  White  Slip 
Ware  of  the  Middle  Bronze  Age  in  Wall-Case  8.  C\pruS; 
PI.  xh  ii.  Ls.  9I  in.,  53  in. 


543.  Hanging  Brackht  (?)  of  uncertain  use,  consisting  of  a  long 
slab  of  cla\',  with  a  bull's  head  at  the  top,  and  a  trough-shaped 
receptacle  below.  It  has  geometrical  decoration  in  brilliant 
black  and  red.  Similar  objects  in  other  collections  have  been 
described  as  lampstands.  They  were  in  an\'  case  intended 
to  be  hung  on  a  walk  and  to  support  some  other  object  in  their 
curved  lower  end.         H.  i  ft.  3  in.  11,  8<S8 

t44-6.  PiLGRiM-BorTLfiS  OR  Flasks,  de\-eloped  from  the  C\pro- 
.Mxcenaean  lentoid  t\'pe.  The  remarkable  annular  flask  545 
shows  rude  but  vigorous  sketches  of  animals,  birds,  and  plants, 
which  should  be  compared,  on  one  hand,  with  the  designs  on  the 
tripod  5 1 3  already  described,  and  on  the  other,  with  the  painted 
horses  and  birds  of  rather  later  date  in  Wall-Cases  21  and  23, 
and  in  Floor-Case  VIII.  It  should  also  be  compared  with  the 
more  elaborate  decorations  on  the  silver  bowls  4552  if.  in  the 
Museum's  Gold  Room.  The  other  two  flasks  546,  544,  show 
surxnalsof  C\-pro-Mycenaean  ornamentation,  combined  in  544 
with  the  Maltese  Cross,  which  originates  here  from  four  black 
triangle-ornaments  set  point  to  point,  and  is  characteristic 
of  the  purel\'  geometrical  st\le.  Compare  numerous  examples 
in  Wall-Case  16.         Hs.  yl  in.,  lo];}  in.,  6  in.         Cyprus,  p. 

547.  OiNocHoi-:  decorated  on  the  shoulder  with  reversed  triangles 
iilled  in  with  black  colour,  a  clear  survi\'al  of  Mycenaean  orna- 

70 


EARLY    IRON    AGE.       FABRIC    XVI 

ment  (compare  425  in  Wall-Case  12);  note  also  the  character-   ^^  all 
istic  wavy  line  on  the  neck.         H.  8j  in.  i  f  ^ffi 

548-553.  Miniature  Vases  are  common  in  the  tombs  of  the  Early 
Iron  Age,  as  at  all  other  periods.  The  examples  shown  here 
serve  to  complete  the  series  of  typical  forms.  Note  particu- 
larly the  amphora  548  of  almost  Cypro-Mycenaean  profile, 
with  vertical  handles;  and  the  oinochoe  549,  on  the  handle  of 
which  is  a  serpentine  ornament  quite  characteristic  of  the 
Kouklia  style.  The  commonest  ornaments  are  still  the 
lattice-triangle  548-550,  and  the  wav}-  line  550,  551.  Hs.  5^ 
in.  — 3  A  in. 


549 


554 


554,  555.  Models  of  Shields.  The  outer  surface  of  554  shows 
a  central  spiked  boss  modelled  in  relief  and  painted  red,  to 
indicate  metal.  The  shield  has  a  scale  pattern,  probably 
intended  to  represent  leather-work  or  hairv  hide,  and  a  red 
band  representing  a  broad  metal  rim.  It  ma\'  also  have  been 
strengthened  with  rods  or  bands  of  some  material  running 
outside  from  boss  to  rim  like  the  spikes  of  a  wheel,  if  we  may 
judge  from  the  small  figures  of  mounted  warriors  and  foot 
soldiers  in  the  Collection  of  Terracottas  (2086-2102).  The 
shield  555  shows  the  construction  of  the  inside,  with  a  trans- 
verse bar  tor  the  handle,  like  that  of  the  (ireek  hoplite-shields, 
and  the  Highland  "targets"  of  mediae\al  Scotland.  This 
type  of  shield  is  known  to  ha\e  been  a  customar\'  shape  in 
the  Nearer  East  from  about  loocj  to  ()()o  or  500  B.  il. 
l)s.  6,'',i  in,,  -jl  in.  II,  774  (534). 

556.     (^HARior-\V'nhi-.L  of  the  same  form  as  the  wheels  of  thecla\' 
horse  526.  1),  6  in. 

557'  55'^-     Ami'Uokai  of  the  same  form  as  the  miniature  examples 

71 


Wall 
(^asc 
lO 


Wall 

Case 

lO 


THL    COLLHCTION    Ol    POTTIiRY 

5S2,  tS^,  aiultiie  sanit,'  geometrical  docoralion.  558  has  broad 
and  narrow  bands  in  black  and  red;  557  bands  and  latticed 
lo/.enges  in  black.  Hs.  i  ft.  v'  in.,  \2i  in. 

739-578.  PLArr:s  and  DisiUiS  of  flat  shallow  forms  are  \ery 
abundant  in  I{arl\-  Iron  .Age  tombs.  I  he  majority  have  a 
c]uite  flat  bottom,  StO  ;ind  5()^,  and  two  handles  which  are 
often  lu)rned  t)r  pointed  like  those  of  the  Bronze  Age  bowls. 
Others  rather  deeper,  like  yb^,  pass  o\cr  into  the  series  of 
bowls  77()  If.  in  W'all-C^ase  17.  The  decoration  consists  mainl}' 
of  concentric  bands  in  black  and  red  paint,  applied  while  the 
vase  was  still  on  the  potter's  wheel.  The  principal  design  is 
almost  alwa\s  on  the  under-surface  of  the  bowl,  which  was 
e.xposed  when  the  plates  were  himg  up  on  the  wall.  The  inside 
of  the  bowl  has  usually  onh'  one  or  two  black  bands,  and  is 
often  c]uite  plain.  The  centre  of  the  design  is  often  filled  with  a 
bold  maltese  cross  in  black  (539,  5O0,  362,  5()5,  5O8,  574),  or  less 
commonl\'  with  an  eight-pointed  star,  367.  These  designs  re- 
sult ob\iousl\'  from  combinations  of  the  common  triangle- 
motive  which  appears  on  the  bottom  of  570:  compare  the 
triangle  ornament  of  348-30.  Between  the  central  group  of 
circles  and  the  edge  of  the  standing-base,  a  wide  unpainted 
band  is  often  tilled  with  elaborate  latticed  triangles  and  other 
geometrical  ornaments  (390,  362,  SO3).  Sometimes  the  same 
ornaments  recur  on  an  outer  zone  beyond  the  standing-base 
(364,  390,  570).  ()ccasionall\- ('3()i),  the  whole  under  sideof  the 
plate  is  di\ided  across  its  diameter  b\-  a  band  of  geometrical 
ornaments,  representing,  no  doubt,  the  wooden  framework  of 


wicker  plate;  in  such  cases,  the  two  semicircular  spaces  which 
result  are  usuallx'  filled  with  latticed  triangles  and  similar 
designs.  The  characteristic  ornament  below  each  handle  of 
371  is  deriwd,  like  so  man\'  of  these  geometrical  ornaments, 
from  the  lashmgs  of  a  basket  handle. 

72 


EARLY    IRON    AGF.        FABRIC    XVI 

Besides  the  plain  two-handled  howls  and  plates,  there  are 
many  varieties  with  a  single  handle  (^()-j,  y()H,  577).  Sometimes 
(567-8),  these  have  simple  spouts,  trough-shaped  or  solid,  for 
pouring  liquid.  .Miniature  examples  of  all  these  t\pes  (573-5) 
are  ver\'  common  in  the  early  tombs.  The  perforated 
plates  576-8,  were  intended  for  use  as  strainers.  Ds.  i  ft. 
2 1  in.  —  2s  in. 

579-81.  Lids  and  0)vers,  belonging  to  wide-mouthed  vessels, 
are  often  accidentall\'  separated  from  them.  The\-  naturall\- 
follow  the  forms  of  the  shallow  plates,  and  examples  like  581 
were  no  doubt  used  indifferentlx'  either  as  covers  or  as  lids. 
These  three  examples  are  all  of  a  rather  later  date  than  the 
majorit\'  of  the  bowls  near  them,  but  their  decoration  is  essen- 
tially similar,  and  consists  mainl\'  of  concentric  bands  of  red 
and  black.  (](jmpare  also  the  lid  864,  in  Red  Painted  Ware, 
in  W'all-C^ase  25. 

582-94.  Dhhi'  Bowls  and  Cups  begin  in  the  same  tombs  as  the 
flat  plates,  and  outlast  them.  Notice  particularl}'  the  deep 
bowl  588,  with  three  short  feet,  modelled  to  represent  bearded 
heads  in  Orientalizing  st\-le;  it  ma\-  be  of  the  se\enth  century 
B.  C.  The  two  b;)wls  587,  586,  ha\e  triangular  openings  cut 
in  their  sides,  to  imitate  openwork  in  wood  or  basketry. 
Ds.  9  I'v,  in.  —  3s  in. 


Wail 
Case 


(b)       VASHS    WITH   GEOMHTRICAL    DhCORATION    IN    PAXHLS.    595-7 

Very  characteristic  of  the  finest  potter\-  of  the  .Middle  or  Geometric 
Period  of  the  Iron  Age  is  the  di\  ision  of  the  surface  of  the  \'essel,  or 
rather  of  its  principal  zones,  into  rectangular  panels,  b\'  means  of 
groups  of  vertical  lines.  Within  these  jxinels  there  are  sometimes 
continuous  "diaper"-  fillings,  chet]uers,  or  zigzag  lines;  sometimes 
independent  ornaments,  of  which  the  most  characteristic  are  the 
group  of  arrow-head  lines,  set  upright  within  the  panel;  the  rosette, 
c(jmposed  of  concentric  circles  with  an  outer  fringe  of  dots  or 
short  lines;  the  swastika  r^  which  first  appears  in  (^\-priote  art 
in    the    Harh'    Iron    Age    and    ra)iidl\'    becomes   pcjpular,    but    dis- 


Wall 
Case 

'7 
Above 


(illllE) 


appears   again    bi-fore   the  fifth  ^enturv  ;   ami   the  semicircular  ex- 
crescences painted  in  solid   black  on  the  frames  of  panels  as  in  595. 


THF.    COLLliCTlON    OI-     ['OTTHRY 


Wall 
C;ast' 


With  the  last-nanu'ii  shoiikl  be  compared  tlie  more  leaf-shaped 
excrescences  which  form  part  of  the  principal  design  on  the  large 
amphora  s<)7,  and  on  the  oinochoe  598.  They  are  probably  an 
attempt  to  render  the  Iea\'es  or  petals  of  flowers,  which  wc  shall  see 
introduced  in  more  recognizable  shape  at  a  later  stage  (Wall-Cases 
i(),  20).  ("ompare  the  later  and  more  degenerate  forms  of  the 
C'\pro-.\l\cenaean  lloral  ornaments  in  Wall-Case  12  and  Floor- 
Case  III.' 

5()S-6.  Kylikbs  or  Drinking  Cups,  with  slender  foot  and  wide 
bowl  of  angular  profile.  These  de\elop  gradualh'  from  the 
graceful  Mxcenaean  form,  through  thcC>pro- 
M\'cenacan  intermediates  458  in  Floor-Case 
III,  and  516  in  Wall-Case  14;  and  become 
broader,  shallower,  and  of  more  angular 
profile.  The}-  are  decorated  with  one  or 
more  zones  of  ornament,  often  elaborate, 
but  at  first  wholl\-  geometrical.  Later,  this 
t\'pe  passes  on  into  that  of  the  kvdikes  with  ornament  of  lotos 
and  birds,  678-80  in  Wall-Case  20.  The  rudcl\'  drawn  rosettes 
on  5C)()  are  a  foretaste  of  this  floral  ornament:  compare  those 
of  666  in  Wall-(]asc  19.     Hs.  y\  in.,  7  in.     Ds.  7  in.,  9I  in. 

597.  Krathr,  with  short  vertical  neck  like  the  amphorai  608-16 
in  Floor-(2ase  \',  but  with  handles  set  \erticall\-  from  rim  to 
shoulder.     Geometrical  panels  occupx'  the  neck.      H.  iil;lin. 

(c)    VAsi-:s  wnn  plain-bodihd  dhcoration.     598-9 

The  two  oinochoai  598,  599,  are  earl\'  examples  of  an  important 
series  which  is  more  fulh'  illustrated  in  Wall- 
Ceases  21  and  22,  and  in  Floor-Case  VI 1 1.  In  this 
series  the  bod\-  is  left  quite  free  from  the  ordinarv 
banded  decoration,  so  that  large  geometrical 
ornaments  can  be  painted  upon  its  whole  surface. 

598-9.  (_)inc)CHoai  with  simple  geometrical  orna- 
ments on  the  plain  bodv.  Fhe  bird-like 
outline  of  the  lip  is  accentuated  b\-  painted 
e\es,  a  de\ice  which  is  ver\'  popular  in  all 
periods  of  Cypriote  pottcr\',  and  recalls  the 
old  nati\e  love  of  animal-shaped  vessels. 
Hs.    61    in.,  8^   in. 

The  same  abstinence  fr(jm  ornament  on  the  bodv  of  the  \essel  is 


598 


74 


EARLY    IRON    AGE.       FABRIC    XVI 

shown  by  the  simple  bowls  ^H2,  583,  and  by  the  small  one-handled 
bottles,  631,  634  in  Wall-Case  18. 


(d)       VASES  WITH  CONCHNTRIC-CIRCLH  ORNAMENT.      600-7 

In  strong  contrast  with  this  economy  of  ornament  is  the  third  Wail 
principal  innovation  at  this  stage  in  the  development  of  design;  ■^^^'^ 
namel}',  the  copious  use  of  the  "concentric-circle"  ornament.  Ihis  Mid- 
ornament  was  produced  by  means  of  a  pair  of  compasses  fitted  with  die 
a  row  of  small  brushes,  so  that  a  whole  svstem  of  circles  was  pro-  ^^ 
duced  b\'  a  single  turn  of  the  hand.  This  multiple  brush  is  an 
ancient  device  in  Cyprus,  as  is  seen  in  Fabric  iv  of  the  Middle 
Bronze  Age,  and  in  the  grouped  lines  which  are  so  constant  a  feature 
of  the  banded  ornament  on  wheelmade  vases  from  the  M}cenaean 
period  onwards.  B\'  an  optical  illusion  such  concentric  circles 
appear  to  rotate  if  the  object  on  which  they  are  painted  is  mo\ed 
une.xpectedly :  they  thus  give  a  peculiar  brilliance  to  the  simple 
schemes  of  plain  red  and  black  bands  within  which  thev  are  usually 
empIoNed.  Historicallx',  the  concentric  circle  appears  first  as  an 
improvement  on  the  purely  rectilinear  ornament  of  the  earliest 
incised  decoration  of  the  Bronze  Age  Fabric  i  (described  alread\'  on 
89-98  in  Wall-Case  3);  and  then,  in  the  Transitional  Period  of  the 
Earliest  Iron  Age,  as  a  blundered  attempt  to  produce  by  mechanical 
means  the  decorative  efTect  of  the  AUcenaean  spiral  ornament, 
which  has  the  same  optical  qualit\'.  In  many  parts  of  Cireece 
during  the  liarlv  Iron  Age,  an  intermediate  stage  is  found,  in  which 
the  concentric  circles  are  connected  b\'  oblique  tangent  lines, 
as  on  the  great  geometrical  \ase  1701  in  I'loor-Case  IX  A.  But  in 
Cyprus  this  is  a  clear  mark  of  f(jreign  influence;  the  nati\e  con- 
centric circles  alwa\s  stand  quite  free,  and  perhaps  belra\',  in  this 
respect,  a  real  though  distant  affinity  with  the  primitive  circle 
ornami'nt  of  the  Earl}'  Bronze  Age. 

600-7.  Kratek  (600),  Bowls  ((H)2-y),  and  other  \'ases  with  con- 
centric-circle ornament.  I  hev  are  of  xarious  tlales  from  the 
eighth  t<j  the  sixth  cenlur\'.  (J)mpare  also  the  larger  amphorai 
640-3,  and  mail}'  \ases  in  \\'a!l-(!ases   18-19.  Hs.    iGc'v,  in. 

—  2I  in. 

This  concentric-circle  ornanieni  remains  jiopular  in  all  schools 
of  (A'pnote  pollerv  Ironi  the  period  ininiedi;itel\  succeeding  the 
(^\pro-.M\cen;iean,   down   to   llir   llltli   and   fourth   centuries;  lati'r 


THE    COLLIiCTION    OF    POTTERY 

examples  of  il  havo  c\cn  been  found  in  the  same  graves  with  im- 
ported .\tlic  \ases  of  mature  and  decadent  st\ie. 


{e)     VASHS  w  irH  flllv  i)h\  laoi'ii)  ohOMbiRic  decoration 
()o<S-()i() 

,P°^    B\'  concurrent  use  of  panel  decoration  and  concentric-circle  orna- 
V    ment,  and  l^x'  tree  emplo\  nient  ot   red  paint,  the  full\-  developed 
st\le  of  the  CJeometric  Period  attains  a  wide  range  of  rich  and  ela- 
borate elTects.     These  are  best  displaxed  on  the  necks  and  shoulders 
of  the  \er\-  large  amphorai  which  are  characteristic  of  this  period. 

6u8.  A.MPHOKA,  with  o\()id  bod\'  and  short  c\lindrical  neck,  en- 
riched with  an  elaboratel\  moulded  rim, 
like  a  cornice,  which  is  repeated  with 
some  \arialion  on  (n)i)-i2.  The  form  is 
altogether  clumsier  than  the  transitional 
forms  in  I'loor-C^ase  1\',  but  has  strong 
character  of  its  own,  and  some  dignitx'. 
The  main  dixisions  of  neck,  shoulder, 
and  bod\-zone  are  emphasized  bv  black 
and  red  bands.  While  the  bod\'-zone, 
as  usual  in  (l\priote  potter),  is  left  quite 
plain  or  at  most  has  a  wa\\-line  orna- 
ment, the  neck  and  shoulder  are  filled 
with  an  elaborate  scheme  of  panel-deco- 
ration. On  the  neck  the  central  panel  is  filled  b_\'  a  character- 
istic lozenge,  the  overshot  ends  of  which  form  lateral  tri- 
angles resting  on  the  frame  of  the  panel:  compare  504-5  in 
Floor-Case  1\'.  These  lateral  triangles  are  further  enriched  b_\- 
the  "leat'-shaped  e.xcrescences"  alread\'  mentioned  (p.  73),  in 
black  like  those  of  the  \ases  505-7  in  Wall-Case  iq.  The  central 
lozenge  is  tilled  with  black  and  white  chequers  and  the  rest  of 
the  panel  with  a  latticed  diaper  in  red.  The  lateral  panels 
contain  lattice-work,  and  \ertical  rows  of  discs  left  white  on 
a  black  ground.  This  earl\'  anticipation  of  a  "red-figure" 
technique  like  that  of  flfth-centur\- Greece,  is  rare;  it  recurs  in 
the  white  rosettes  on  ()C)()  in  Moor-Case  \'l.  (Jn  the  shoulder 
the  C\pro-.M\  cenaean  \\a\\-line  sur\i\es,  between  two  rows 
of  concentric  circles.  H.  2  ft.  6  in. 

11,^74. 

6oe).     .A.Mi'iioKA.     The  central  neck-panel  is  of  simplified  form  con- 

76 


EARLY    IRON    AGE.       FABRIC    XVI 

sisting  merely  of  diagonal  lines.  The  lateral  panels  contain 
concentric  circles,  which  also  form  the  onl\'  decoration  of  the 
shoulder.  H.  2  ft.   i  g  in. 

610.  .Amphora,  with  central  neck-panel  like  608.  Each  lateral 
panel  is  subdi\'ided  b\'  a  \ertical  band  of  narrow  lines,  flanked 
b\'  the  leaf-shaped  excrescence  in  black,  and  escorted  by 
a  semicircular  ornament  in  red  and  black  with  leaf-shaped 
appendages.  Compare  the  vases  in  the  same  phase  of  style 
in  W'all-C^ases  17  and  U).  On  the  shoulder  are  alternate  latticed 
triangles  and  groups  of  narrow  \ertical  lines,  all  adorned  with 
the  leaf  m()ti\-e  in  black.  H.  2  ft.  3.^  in.  II,  <S7<S. 

61  1-12.  .Ami'Horai  with  neck-ornament  like  the  k\likes  595-6.  The 
panels  of  61  i  are  left  empt\';  in  612  their  ornament  resembles 
closeh'  that  of  the  geometrical  kxlikes  in  Wall-Case  17,  com- 
bining pure!}-  geometric  elements  with  concentric  circles,  and 
the  leaf-shaped  moti\e  alread)'  described.  Hs.  i  ft.  io|  in., 

I  ft.  I  1 8  in. 

613.  KRAri;R,  with  handles  vertical,  but  the  same  decoration 
as  the  amphorai.  The  "leaf-shaped  "  ornament  is  de\'eloped 
to  a  rather  more  leaf-like  form,  and  the  outline  of  the  elaborate 
central  triangle  is  curved  instead  of  rectilinear.      H.  i  ft.  5?,  in. 


Floor 
Case 
V 


(,H 


614-16.  .A.Mi'iioRAi  of  similar  form,  in  which  the  concentric- 
circle  ornament  superseiies  the  earlier  geometrical  tlecoration. 
The  brownish  iniint  of  615  is  due  to  careless  firing. 
Us.  I  ft.  iii  in.  —  I  ft.  3I  in.  Doell,  x\i,  7,  3522  ('614) 

II,  SS7  ((.14). 


77 


Wall 

Case 

iS 


Tlin    COLLIXniON    OF    POTTHRY 
(D      i-LASKs    .\\n    HARKi  I -jrc.s.      ()I7-6^0 

One  of  the  most  ju'culiar  classes  of  potlerx'  in  the  Cjeometric  Period 
consists  of  tlasks  and  so-ealled  barrel-jugs.  I  he  whole  group  is 
best  described  as  consisting  of  jugs  or  bottles  in  which  the  bod_\-  is 
elongated  or  compressed  along  an  axis  at  right  angles  to  that  of 
the  neck,  and  to  the  plane  in  which  the  handles  lie.  When  the 
bod\'  is  compressed  and  lentoid,  the  \'ase  is  commonly  described 
as  a  "tlask";  those  with  elongated  and  more  or  less  c_\'lindrical 
bodies  are  con\eniently  named  "barrel-jugs."  In  all  cases  the 
painted  decoration  follows  the  structural  outlines  of  the  vessel. 
The  compressed  "flask  "is  alreadyfamiliar  in  the  potter)'  of  theEarh" 
and  .Middle  Bronze  .Age:  lOo,  197,  238-9,  328,  375-9  in  Wall-Cases 
4-1  I, •  and  fresh  varieties,  introduced  bv  the  AUcenaean  colonists, 
characterize  the  earliest  phase  of  the  Iron  .Age:  544-6  in  Wall-Case 
1 5.  Then  the  natixe  lo\e  of  fantastic  forms  made  the  experiment  of 
prolonging  instead  of  shortening  the  axis  about  which  the  vase 
is  decorated,  and  created  the  "barrel-jug,"  which  is  almost  peculiar 
to  C\prus.  It  should  be  noted,  howexer,  that  both  "flasks"  and 
"barrel-jugs"  repeat  forms  which  are  habitual  to  the  wootl-turner; 


622 


62S 


629 


032 


045 


and  that  wooden  \essels  of  both  \arieties  are  still  in  common  use 
among  the  peasantrx'  all  through  the  Balkan  Peninsula  and  in 
man\'  parts  of  Asia  .Minor.  The  inside  of  such  \essels  has  to  be 
exca\ated  llirough  a  hole  in  one  of  the  ends,  which  is  afterwards 
filled  b\-  a  plug:  and  this  feature  sur\i\es  in  the  prominent  concentric- 
circle  ornament  of  the  ends  of  the  cla\'  \ases,  which,  moreoxer,  had 
to  be  fashioned  on  the  wheel  in  an  analogous  waw  in  the  mitldle 
period  of  the  Iron  Age,  this  t\pe  of  \'ase  becomes  \er\-  common  and 
of  ver\'  varied  forms. 

617-624.      BARRt-.L-Juos,  of  earl\-  t\  pes,  with  geometrical  ornament 

78 


EARLY    IRON    AGE.       FABRIC    XVI 

concentrated  on  the  central  zone  from  which  the  neck  and  ^V^" 
handle  rise.  The  fine  examples  617,  622,  have  the  fully  ,y  , 
developed  scheme  of  chequers,  triangles,  leaf  ornament,  and 
swastikas,  which  has  been  alread\- discussed  on  595  If. :  concen- 
tric circles  are  introduced  on  618-9,  621-623.  Hs.  I  ft.  3/,,  in. 
—  5! };  in.  Doell,  xvi,  8,  2932  (617). 
025.  Globular  Jug,  the  almost  spherical  bod\'  of  which  was 
nevertheless  regarded  by  the  artist  as  consisting  of  two  hemi- 
spherical ends,  joined  by  a  narrow  cylindrical  zone  below  the 
neck;  and  was  decorated  accordingly.'.  It  is  from  experiments 
such  as  this,  which  began  in  the  M\'cenaean  period  (446  in  Floor- 
Case  1 1 1).  that  the  C\'priote  potters  acquired  their  remarkable 
scheme  of  decoration  b\'  "vertical  circles"  which  becomes  \ery 
popular  tor  oinochoai  and  small  jugs,  from  the  Middle  Iron 
Age  onwards:  compare  637  here;  647-8,  655-7  'n  Wall-Case  19; 
and  710-14  in  Wall-Case  21.         H.  44  in. 

()26-9.  PTasks  (627,  629)  AND  Barkel-Jlcs  (626,  628)  with  one  or 
two  handles  and  simple  geometrical  ornament  of  lattice- 
lozenges  (626),  maltese  cross  (626,  627),  lattice-triangles  (629), 
and  swastikas  (629).  The  forms  belong  to  the  earl\-  middle 
of  the  Iron  .Age.        Hs.  61 1  in. —  6  in.         Cv'prus,  p.  181  (629). 

630.  Barrel-Jug  of  later  form  and  decoration.  The  pinched 
lip  and  tree-ornament  are  borrowed  from  oinochoai  of  the 
sixth  and  fifth  centuries  710-1 1  in  Wall-Case  21.         H.  6  in. 

631-9.  Globular  Jugs,  of  allied  and  derived  forms:  631,  634  show 
the  unpainted  bod\',  alread}'  discussed  on  598-9  in  \\'ali-(>ase 
17;  and  ()>,2-^  show  the  concentric-circle  ornament  ingeniouslx' 
applied  to  such  jugs  so  as  to  produce  the  impression  that  lhe\' 
are  made  up  of  se\eral  end-sections  of  flasks  or  barrel-jugs. 
The  three-fold  arrangement  of  6^^  is  \ery  rare;  a  four-fold 
scheme  is  common,  as  on  632;  and  a  \ase  in  the  Cyprus  .Mu- 
seum (('..M.C,  ()--)  shows  a  fifth  set  of  circles,  painted  on  the 
rounded  bottom.  Us.  S',;;  in.       ^1;;  in. 

Wuh  til  is  barrel-jug  series  should  be  com  [la  red  the  much  filer  experi- 
ment of  inserting  the  neck  not  in  llie  middle  zone,  but  at  one  end 
of  a  barrel-shaj^ed  bod\',  as  in  71 5-()  in  \\  :ill-(  ^ase  2  1 . 

')|o-2.  Ami'iiokai,  of  angular  form  with  oriuimenl  of  concen- 
tric circles.  1  he\'  should  be  comjKired  with  (')00-7  above. 
1  Is.  12^  in. —  7  in.  1 1,  ()io  (<')43). 


THE    COLLIXTION    OF    POTTERY 
(g)       HA\DL1:-Rll)('.l-;  JL'c;S,   AND  OTHHR  MINIATURE 

\AShs.     64V('(M 

,.■  ,,  In  the  lombs  of  the  C'lcomotric  Pericjd  miniature  vases  are  often 
Case  found  in  large  numbers.  Some  ot  these  imitate  the  tull-size  am- 
")  phorai,  kraters,  kxiikes,  and  oinochoai;  others  are  of  peculiar 
forms,  usuall\'  tlat-lipped,  which  seem  to  be  the  Cxpriote  equi\- 
alent  of  the  "Proto-Clorinthian"  ar\ballos  of  Greece.  Originating 
from  the  llat-lipped  t\'pe  alreadv  described  in  Wall-Gase  i8,  and 
shown  also  in  Red  Bucchero  Ware  in  W'all-C^ase  13,  lhe\'  de\elop 
rapidl\'  in  se\eral  directions.  Thex'  are  ct)mmon  in  the  White 
Painted  \\  are,  and  e\en  commoner  in  the  Red  Painted  Ware  of 
the  same  period  (cS2()  fT.  in  Wall-Case  24). 

From  the  \er\'  marked  ridge,  which  usuall\-  encircles  the  neck 
at  the  point  where  the  handle  is  set  on,  these  little  \ases  ha\e 
recei\ed  the  con\enient  name  of  "Handle-Ridge  Jugs."  Good 
examples  are  651-3.  This  "handle-ridge"  first  appears  in  the 
Base-Ring  fabric  of  the  Later  Bronze  .Age  (338-40  in  Wall-Case  10), 
and  has  been  noticed  also  in  the  Red  Bucchero  fabric  (477-481)  in 
Wall-Case  1 3.  These  earlier  forms  probably  originated  in  a  leather 
tx'pe,  but  the  "handle-ridge  jugs"  of  the  Iron  Age  were  almost 
certainl\-  influenced  also,  like  the  Proto-Corinthian  and  other 
Greek  "arxballoi"  and  "alabastra,"  hv  acijuaintance  with  the 
Eg\ptian  alabaster  \ases  ( i()Oi  tf.  in  Wall-Case  74),  and  w  ith  copies 
of  them  in  potter\',  glass,  and  metal;  for  it  frequentl\'  happens  in 
all  these  that  the  broad  Hat  rim  characteristic  of  the  original  ala- 
baster \ases  was  made  in  a  separate  piece,  fitted  either  into  the  real 
neck  of  the  \ase  like  a  stopper,  or  over  it,  like  a  collar,  as  in  1633. 
In  \ases  intendeii  to  hold  precious  oils  and  scents,  this  had  its 
ob\ious  conwnience  and  in  either  case  there  was  need  for  a 
slight  ridge  on  the  neck,  at  the  [loint  of  junction.  In  the  cla\' 
examples,  however,  which,  ol  course,  are  made  in  one  piece,  the 
"handle-ridge"  is  mereh'  decoratixe. 

The  maj(jrit\'  of  these  miniature  \ases  are  decorated  with  the  famil- 
iar broad  bands  and  groups  of  narrow  lines.  The  clear  space  left 
on  the  shoulder  is  often  cjuite  plain.  When  it  is  painted,  it  is  tilled 
most  commonix"  with  concentric  circles,  and  sometimes  with  swas- 
tikas. Later,  these  are  replaced  b\'  lotos-flowers,  and  other  ( )riental 
motixes,  as  in  ()8  3-8. 

643-5.      .MiMATLRH  X'ashs.  of  \arious  forms    (krater  643,  oinochoe 
644,  and  handle-ridge  jug  ()45)  characterized  b\'  a  rare  \ariety 


EARLY     IRON     AGH 


FABRIC     XVI 


of  the  concentric-circle  ornament,  in  which  the  circles  are 
onl\'  drawn  for  about  three  parts  of  their  circumference,  and 
then  run  tangential!)-  upwards  to  meet  the  band  which  frames 
the  whole  series.  The  same  con\entional  ornament  is  used 
to  represent  curls  of  hair  on  modelled  terracotta  heads  of  the 
seventh  century,  which  gi\cs  an  approximate  date  for  these 
vases.  The  same  "concentric  question-mark,"  as  it  has  been 
called,  is  found  rarel\'  on  painted  potter\-  of  the  Earl}'  Iron 
Age  in  L\cia  and  Phr\gia,  and  at  Troy;  see  Urmerod, 
British  School  Annual  XVI,  p.  loi,  n. 


Wall 
C^ase 
'9 


644 


647 


649 


646-664.  HANnLEi-RiDf^E  Jlt.s  (647,  651  ff.),  and  Miniature 
OiN'ocHOAi  (646,  64S-50),  of  t\pica!  forms  decorated  with 
N'ertical-circles  (see  625  aho\e),  either  ak)ne  (648-9),  or  com- 
bined with  horizontal  circles  (647),  or  grouped  (662)  as  on  the 
globular  flasks  632-3.  The  shoulder-zone  is  often  filled  with 
concentric  circles  or  groups  of  lines  (661).  Occasionally,  as 
in  6,1,  there  are  two  handles,  a  rexersion 
to  the  common  .M\cenaean  form  427,  sug- 
gested perhaps  b\'  the  contemporarx'  llasks  630, 
655-6  in  Wall-Case  18,  and  \erv  common  in 
the  \{iti\  Painted  Ware  Soc)  IT.  in  W'all-Case  24. 
The  llat  lip  is  often  replaced  as  in  65()-6o,  ()()2, 
b\-  a  \er\'  characteristic  funnel.  The  tall 
conical-bodied  jugs  ('665-4)  and  the  oinochoe 
with  ekjngated  bod\-  (646)  are  conlemporar\  with  the  standard 
t\'pes.  The  form  ()()2,  on  the  other  hand,  out li\cs  them,  and 
passes  on  into  the  sixth  ci'iuur}'.  Ms.  7.^  in.--    \  m. 


81 


IHH    COLLHCTION    OF    POTTHRY 

(h)       VASES     WITH      I'ANHLS     AND     FRIEZES     ENRICHED     WITH 

LOTOS   ORNAMENT.    665-7O2 

The  Oriental  intluence  which  chicflx-  affects  the  pottery  of  C\-prus 
is  that  of  Egypt,  wliere  painted  potter}'  was  in  use  at  all  periods, 
and  had  a  peculiar]}'  rich  and  graceful  revival  under  the  Twent\'- 
sixth  D\'nasL\'.  Assxria  and  the  Sxrian  coast  inherited  less  taste 
for  this  art,  and  had  less  to  contribute  to  the  mixed  Oriental  st\le 
of  Cxprus;  but  the  guilloche,  or  "cable-ornament,"  the  rosette,  and 
a  few  other  ornaments,  such  as  the  "sacred-tree"  composed  of 
conventional  palmettes,  are  to  be  referred  to  this  source;  and  when 
human  figures  are  attempted  (as  in  751  in  Floor-Case  VI 11),  they 
wear  Assx'rian  costume  as  freelv  as  Eg_\'ptian. 
The  series  which  best  illustrate  the  gradual  intrusion  of  these 
Oriental  moti\'es  into  the  C\priote  geometrical  style  are  (a)  the 
oinochoai,  k\l-ikes,  or  kraters  of  moderate  size,  665-682,  with  panel 
decoration  on  the  neck  and  body;  (b)  the  handle-ridge  jugs  and 
miniature  \ases,  683-693,  which  are  good  evidence  of  the  pre\alence 
of  similar  motives  on  the  full-sized  vessels  from  which  they  are 
copied;  and  (c)  the  amphorai  of  great  size,  with  rich  friezes  and 
panels,  694-702. 


In  all  these,  the  lotos  and  other  Oriental  ornaments  are  introduced 
as  accessories,  to  enrich  the  traditional  schemes  of  geometric  design; 
and  the  limits  of  panel  and  frieze  made  further  elaboration  difficult. 
It  is  only  when  we  turn  to  the  "plain-bodied"  xases,  721  ft".,  which 
are  discussed  separate!}'  below,  that  we  find  an}'  attempt  at  a  free 
pictorial  style.  Elsewhere  the  introduction  of  Oriental  elements 
is  very  gradual,  and  can  onl}'  be  appreciated  by  following  the  whole 
series  in  detail. 


83 


EARLY    IRON    AGE.       FABRIC    XVI 

665.  OiNOCHOE,  with  almost  purely  geometrical  decoration;  but  ^^a" 
there  are  swastikas  on  the  shoulder  and  painted  birds'  eyes  ,     ^q 
on  the  lip.     Compare  598-9  in  Wall-Case  17.         Doell,  xvi, 

9,  3220. 

666.  Deep  Bowl,  on  a  high  foot.  The  panel  decoration  includes 
roughly  drawn  rosettes,  like  those  on  the  Kylix  596  in  Wall- 
Case  17. 

667-670.  Kraters,  with  an  elaborate  triangle-ornament,  which 
has  prominent  curvilinear  excrescences  in  solid  black:  in  667 
it  stands  free,  but  on  668  it  is  enclosed  within  a  panel  with 
swastikas  in  the  field;  and  on  669  an  Egyptian  lotos-flower 
with  its  buds  is  drawn  very  roughly  in  the  field  of  the  panel, 
on  each  side  of  the  central  design.  In  670  these  lotos-sprays 
are  promoted  to  occupy  lateral  panels,  while  the  central  panel 
is  almost  wholly  filled  by  the  elaborately  chequered  triangle. 

II,  934,  894  (669,  670). 

671.  Krater,  with  more  elaborate  panel  ornament.  Here  the 
lateral  panels  also  are  filled  with  a  chequered  lozenge  pattern; 
and  lotos-buds  are  freely  used  as  accessories  to  the  central 
design.  The  neck  ornament  also  is  affected  now  by  the  new 
Orientalist  influence.  The  old  "wav\'  line"  gives  place  to  a 
scheme  of  panels  containing  eight-Iea\'cd  rosettes  and  a  cable- 
ornament:  both  commonly  regarded  as  loans  from  the  art  of 
Assyria,  and  as  appearing  on  the  Svrian  coast  and  in  Cyprus 
in  the  latter  half  of  the  eighth  century.  The  same  combina- 
tion of  rosette  and  guilloche  occurs  also  on  694,  in  Wall-Case 
20.         H.  8  in. 

672-4.  Kraters,  marking  still  further  progress.  In  672  a  large 
red  and  black  lotos  now  occupies  the  central  panel,  and  the 
only  remnant  of  the  old  lattice  triangle  is  a  lattice-work  filling 
in  the  heart  of  the  flower:  compare  the  lotos  on  676  and  on 
the  large  amphorai  696-702  in  I'loor-C^ase  VI.  The  more 
copious  use  of  red  paint  in  broad  masses  is  a  further  suggestion 
borrowed  from  Eg\ptian  \asc-painting.  In  674  the  shoulder 
ornament  consists  \vholl\'  of  lotos  buds, unrestrained  bypanelsor 
frame;  and  in  673  a  rosette  formed  of  lotos  petals  is  accompanied 
by  very  clumsy  attempts  to  draw  an  I\g\ptian  hierogl)'phic 
inscription  enclosed  in  the  conventi(jnal  frame  or  cartouche. 
Hs.  10  in.,  9s  in.,  73  in.  11,  935,  895  (672,  673). 

83 


inn    COLLHCTION    OF    I'OTTHRY 


Wall 
C;aso 


()7S-().  Kyliki;s,  of  the  same  angular  form  as  ^f)S-^>  in  Wall-Case 
17.  Iho  central  design  is  now  entirely  composed  of  a  lotos 
flower  and  its  buds,  but  is  still  enriched,  in  ()75,  with  the  old 
semicircular  excrescences.  In  ()7()  the  drawing  is  quite  free. 
and  the  use  of  red  paint  is  conspicuous.  Us.  6  in.,  7  in. 


iSKci' 


676  677 

677-().  KvLiKi-s,  in  which  figures  of  birds  are  introduced,  either 
in  addition  to  the  lotos  or  in  place  of  it.  In  677  the  bird  is 
represented  feeding  on  the  buds  of  a  lotos  plant,  which  occupies 
the  other  half  of  the  panel,  and  betrays  in  the  pose  of  its  wings 
and  in  the  character  of  its  head  and  beak  strong  traces  of 
the  Eg\ptian  models  aboxe  mentioned.  (Compare  the  master- 
pieces of  this  st\le,  752,  754  tf.  in  I'loor-Case  \'II1.  The 
other  side  of  the  \'ase  shows  a  conventional  lotos  flower  with 
buds  and  excrescences,  like  that  on  bj^.  in  a  panel  flanked 
b\-  imitations  of  hieroghphic  writing  like  th(_)se  on  ()73,  des- 
cribed above.  These  birds  are  the  first  examples  of  a  decora- 
ti\e  moti\'e  which  becomes  \ery  popular  in  the  sc\enth  centur\' 
and  is  discussed  below  with  reference  to  the  "bird-jugs,"  721 
fl.  in  \\'all-C2ases  21-22,  and  7^4  H.  in  Idoor-Case  \T11.  The 
profile  of  these  k\likes  becomes  open  and  less  rigid,  and  prob- 
abl\-  rather  later  in  date.  Us.  ()J  in.,  41',;   in.,   5  in.         C^}'- 

prus,  p.  40s  (677-S).  11,  971  (679). 

6(S().     KvLix,    of    hea\\',    somewhat    con\ex 
profile,  and   unusuall}'  ruddy  cla\',  with 
a    fine    continuous    bod\'-zone    of    close- 
ranged  lotos-flowers.  H.  6J  in. 
On  many  small  oinochoai  and  other  miniature 
vases  the  lot(js  ornament  simply  replaces  con- 
centric circles.      This  series,  like  the  preced-  q^q 

84 


EARLY    IRON    AGE. 


FABRIC    XVI 


ing,  develops  immediatels'  from  the  handle-ridge  jugs  and  other    Wall 

miniature  vases,  646-664,  of  geometric  st\le.      The  forms  are  the    ^^^^^ 

'  .  20 

same;  it  is  onlv  the  decoration  which  is  orientalized. 

681.  OiNOCHOH,  showing  the  lotos  flower  applied  to  fill  the  front 
panel  between  a  pair  of  "vertical  circle"  schemes.  H.  8  in. 

682.  Spout-Jug,  with    a    design    of   lotos-petals,  rosettes,  •/-^. 
nd  hire 

11,  Q4C). 

683-9.  Miniature  Vases,  of  \'arious  forms;  handle-ridge  jugs 
683-5,  feeding  bottle  686,  wine-amphorai  ()87-8,  oinochoe  68g; 
all  showing  fully  developed  decoration  of  lotos  flowers  683-7, 
689,  or  rosettes  688.         Hs.  4^}  in. —  3!  in. 


and  birds  in  careless  black  and  red  paint.     H.  6 


ettes,  •>?^. 

,^v,  in.  'Ly: 


690.  OiNOCHOH,  with  lotos  ornament  between  \ertical  circles,  of 
unusuallv  tine  fabric,  resembling  that  of  751  tf.,  in  Moor-Case 
VI 11.         H.6  in. 

()(;!.  OiNOCHOi;,  with  an  ornament  of  three  conxerging  lines  alter- 
nating with  groups  of  arrow-shaped  lines.  II.  5]  in. 

6()2,  (>(j^  .Mini  \n  ri-:  \'asi.^;  deep  bowl  (()92),  and  amphora  (693), 
of  fine  fabric  and  geomelrical  decoration.  lis.  2  {\;  in.,  3  in. 

.At  the  top  of  \\'all-(^ase  20  are  larger  \ases  which  show   the  same 
intrusion  of  the  lotos,  tree,  and  bird. 

G94,  69s.     l.AR(,i-.    Two-iiANDLi-.n  \'asi-s  (jf  angular    profile.     ()94 

has   a   guilloche  ornament    and    panel    decoration   of  rosettes 

and  triangles;  695  has  birds  of  carlv  t\pe  sejiarated    b\-  trees. 

Us.  10.]  in.,  H\  in. 

Another   instructiw  series   consists  of   large  amphorai  with  richlx' 

decoratt'd  neck-  and    shouliler-zones.       The   forms  dilfer  but    little 

from  those  of  the  pureh'  geometrical  amjihorai  ()o8-()i()    in    Idoor- 

85 


floor 
Case 
Vi 


I-loor 

Case 

\  1 


THE    COLLHCTION    OF    POTTERY 

Case  V ;  hut  linear  ornament  gi\es  place  rapidly  to  bold  renderings 
of  the  lig\ptian  lotos,  with  large  lateral  petals  which  recall  the 
M\cenaean  treatment  of  the  iris-tlower,  and  ma\'  be  distantly 
inspired  b\'  it.  The  whole  group  belongs  probably  to  the  seventh 
centur}-  B.  C. 

696.  Amphora,  with  shoulder-zone  of  lotos  flowers  with  interlaced 
stems.  On  the  neck,  the  central  panels  of  an  elaborate  scheme 
are  still  purel\'  geometrical,  with  lozenges  and  triangles  en- 
riched with  "lateral  excrescences"  as  in  595-7  above;  but  the 
lateral  panels,  abo\e  the  handles  of  the  vase,  are  filled  b\'  single 
lotos  flowers  with  large  red  outer  petals,  strongly  recurved, 
and  black  latticed  centre.  As  so  often  happens  in  \ase- 
painting,  the  old  geometrical  panel-motives  with  lateral  ex- 
crescences sur\ive  on  the  subordinate  zones.  H.  2  ft.  8j 
in.         C\prus,  p.  181.  11,885. 


607.  .Amphora,  with  wa\\-line  and  triangle  ornament  on  the 
shoulder;  but  a  richl\-  drawn  lotos  flower  with  buds  and  scrolled 
leaves  in  red  and  black  in  the  central  panels  on  the  neck. 
.-\  skilful  combination  of  solid  black  with  black  outlines  pro- 
duces the  effect  of  white  petals  among  the  black  and  red,  a 
thoroughl\-  Egxptian  mannerism.  In  subordinate  positions 
geometrical  panel-motives  are  still  admitted.  H.  2  ft.  3  in. 

11,  883. 

698.  A.MPHORA,  with  a  design  on  the  shoulder-  and  neck-zones  of 
isolated  lotos  flowers,  superimposed,  as  if  bv  an  after-thought, 
on  a  scheme  of  concentric-circle  ornament  like  that  of  614-6 

86 


EARLY    IRON    AGE.       FABRIC    XVI 

in  Floor-Case  V.     On  the  neck,  the  central  lotos  flowers  are    Hoor 
enriched  with  an  eight-lea\cd  rosette  on  a  black  ground,  a    ^•'| 
hint  of  Assyrian  influence.         H.  2  ft.  5  in.  II,  884. 

699.  Amphora,  with  elaborate  panel  decoration,  enriched  with  two 
whole  zones  of  the  eight-leaved  rosettes,  on  a  black  ground. 
Here,  too,  lotos  flowers  are  a  prominent  element  in  the  design, 
but  the  central  panels  of  the  neck  retain  the  old-fashioned 
latticed  work  in  lozenges  and  triangles,  much  enriched  with  red 
paint.  The  lateral  panels  have  a  conventionalized  lotos 
flower,  with  latticed  centre  and  swastikas  in  the  field. 
H.  2  ft.  2  in.         Perrot,  fig.  507.  11,  882. 

700.  Amphora,  with  friezes  of  lotos  flowers  and  buds  on  neck  and 
shoulder,  unrestricted  by  any  panel-scheme,  but  escorted  by 
a  cable  ornament  in  red  and  white  on  a  black  ground. 
H.  I  ft.  8|  in.  11,  871. 

701.  Amphora,  with  the  body-zone  divided  into  four  panels,  each 
containing  a  lotos  flower  in  solid  red  with  black  outline,  enriched 
with  the  familiar  "lateral  excrescences."  Note  the  basketry 
ornament  on  the  handles,  a  very  common  decoration  all  through 
this  period.         H.  10^  in.  11,893. 

702.  Amphora  of  careless  style,  with  a  cable  pattern  on  the  body; 
the  shoulder-zone  is  divided  into  panels,  each  containing  a 
rosette  of  numerous  leaves.  On  the  neck  are  the  familiar 
wavy  line  and  concentric  circles.  H.  12^  in. 

(i)       OINOCHOAI    WITH     " VHRTICAL-CIRCLe"     ORNAMENT,     SOMETIMES 
ENRICHED  WITH  THE    LOTOS.       703-72O 

While  the  lotos  and  its  derivatives  thus  dominate  the  panels  and  Wall 
friezes  appropriate  to  the  larger  amphorai,  they  invade  also  the  inter-  ^^^^^^ 
spaces  between  the  "vertical-circle"  ornaments  of  the  oinochoai.         Upper 
This  "vertical-circle"  ornament,  the  origin  of  which  has  been   des-  '^^''^ 
cribed  on  625,  63  i,  has  a  long  and  popular  career  as  the  chief  decora- 
tion of  the  large  oinochoai.     These  become  very  common  in  tombs 
of  the  late  sixth  and  of  the  fifth  centurv.     The  two  upper  shelves 
(jf  Wall-(^ases  21-22-23  show  the  later  development  of  this  series, 
which  is  continued  hereafter  under  776  ff. 

703-4.  Oinochoai,  nearlv  globular,  but  already  anticipating  bv 
their  loose  hea\'V  outline  the  characteristic  forms  of  the  "bird- 
jug"  series,  721-40,  in  the  lower  shelves  of  Wall-Ceases  21-22. 

»7 


Wall 
Cases 


nil-    COI.I.lXVl  ION    Ol-     PO'ITF.RY 

'l"hc\'  are  probablx'  not  later  than  the  seventli  eentur\',  and 
mav  well  he  earlier.  Ihex'  are  decorated,  like  the  bird-jugs 
and  the  earlier  globular  jugs  O52-5,  with  comparatively  small 
groups  of  vertical  circles.  In  704  these  have  a  maltese  cross 
at  their  centre,  another  clear  sign  ofearlvdate.  Hs.  i  i]  in.. 

12^  in. 


704 


Plain-lii'I'hd  }vc,,  of  similar  earl\'  t\pe,  with  wa\}' lines  on 
the  neck  and  large  s\stems  of  "\erlical-circle"  ornament  on 
the  bod\-.  The  central  part  of  these  sxstems  was  not  applied 
while  the  \ase  was  on  the  wheel,  but  was  drawn  freehand  as 
a  single  continuous  spiral  instead  of  concentric  circles.  This 
variant  is  fairl\'  common  in  the  sixth  and  fifth  centuries  B.  C. 
Compare  716,  of  a  fifth  centur\-  t\  pe  \ery  common  at  Amathus, 

88 


EARLY    IRON    AGE.       FABRIC    XVI 

in  which  the  spiral  was  drawn  mechanicallx'  b\-  making  the  "^^all 
vase  to  rotate  on  its  side,  and  moving  the  brush  slowl\-  from  21^^22 
the  centre  towards  the  circumference.         H.  i2|  in. 

706-8.  OiNOCHOAi,  of  huge  size  but  rather  later  form,  with  various 
schemes  of  \ertical  circles  enriched  with  groups  of  concentric 
circles.  The\'  probablv  belong  to  the  seventh  and  sixth  cen- 
turies. Hs.  I  ft.  1 1  in.,  I  ft.  1^,  in.,  i  ft.  3I  in. 

II,  927,  930  (706,  70(S). 

709.  OiNOCHOE,  probabl}'  of  the  sixth  or  fifth  centur\-,  to  judge 
from  its  form;  its  ornament,  howe\er,  consists  simpl)-  of  many 
horizontal  bands,  some  broad,  some  composed  of  a  group  of 
fine  lines;  a  striking  example  of  the  persistence  of  a  motive 
inherited  from  .Mycenaean  \'ase-painting:  compare,  for  example, 
417  in  Wall-Case  12.         H.  i  if  in. 

710-13.  OiNOCHOAi,  of  a  ver\'  well-defined  fabric  with  \ertical- 
circle  ornament,  characteristic  of  the  large  fifth  centur\-  tombs 
at  Amathus.  The  front  space  of  712,  between  the  vertical 
circles,  has  only  small  concentric  circles.  To  this,  71  i  adds 
a  rudely-painted  tree,  and  two  spear-shaped  objects  which  are 
seen  b\'  comparison  with  713  to  be  intended  for  lotos  buds. 
In  710  the  buds  ha\'e  disappeared  and  the  tree  is  more  carefull}' 
drawn:  compare  the  trees  on  629,  786-7.  The  lotos  and  buds, 
together  with  the  same  tree,  recur  on  the  amphora,  784,  which 
also  is  characteristic  of  fifth  centurx'  tombs  at  Amathus. 
Hs.  10  in.  --6}  in. 

714.  OiNocHOh  of  the  same  st\  le  as  710-3,  but  in  place  of  the  lotos 
or  tree  is  a  human  head,  bearded,  in  profile,  wearing  a  pointed 
cap  like  the  sculptured  heads  in  hloor-C^ase  XI.  It  is  drawn 
in  black  outline  and  filled  in  with  dull  red.  H.  9]  in. 

715-719.  Oin()c;hoai,  of  the  same  late  date  (sixth  antl  fifth  cen- 
turies) in  which  the  bod\-  of  the  \ase  is  more  or  less  barrel- 
shaped  and  has  no  standing-foot.  The  axis  of  the  barrel  is, 
however,  the  same  as  that  of  the  neck,  not  at  right  angles  to 
it  as  in  the  earlier  "barrel-jugs"  617-2 ■;.  The  ornament  con- 
sists wholly  of  horizontal  bands.  lis.  ()',  in. —  (ri,  in. 

720.  Pl,Ai\-i.ii'i'i,i)  j  I  (.,  with  hea\\'  rim.  in  a  fabric  of  tiark  coarse 
cla\-  with  horizontal  bands  and  characteristic  fleur-de-i\s  orna- 
ment added  in  white.      ITis  l\pe  replaces  the  oinochoe  with 

89 


THE    COLLECTION    OF    POTTERY 

Wall  vertical  Lirclos,  710-3,  in  tombs  of  the  fourth  century  at  Ama- 

Cascs  , ,  1 1    o  ■ 

2,  _22  thus.  H.  <S  in. 

Other  kite  and  degenerate  forms  which  preserve  the  tradition  of 
the  earlier  geometrical  and  mechanicall\'  applied  decoration  are 
described  later  on  (776  if.  in  Wall-Case  23).  We  return  now  to 
trace  the  further  influence  of  Oriental  motives,  already  illustrated 
b\'  the  lotos  and  rosette  decoration  of  696-702  and  earlier  groups. 


(j)       PLAIN-BODIED    VASHS    WITH    REPRESENTATIONS    OF 
BIRDS    AND   ANIMALS.       721-40 

Wall  Representations  of  birds  and  animals  appear  in  the  pottery  of 

Cases  (];^prys  about  the  same  time  as  the  lotos  ornament.     It  does  not 
20,  2 1      ■  ^ 

22  necessarih'  toUow  that  the  most  clums\'  of  these  representations 

are  the  earliest,  for  at  all  periods  the  C\priote  potter  was  capable 
of  surprising!}'  unskilful  work;  and  in  fact  some  of  the  finest  and 
the  most  careless  examples  have  been  found  in  the  same  graves. 
The  commonest  is  a  bird  with  rapacious  beak  and  claws,  which  has 
some  resemblance  (in  its  most  ambitious  examples)  to  the  ro\al 
vultures  and  hawks  of  Egyptian  symbolism.  Some  of  the  ruder 
examples  of  these  designs  have  been  alread\-  described.  The  birds 
on  the  k\likes,  678,  679,  in  Wall-Case  20,  belong  to  the  most  child- 
ish and  inexpert  variety.  Little  better  are  those  on  the  spout-jug 
682,  and  the  large  vessel  695.  That  on  the  kylix  677,  on  the  other 
hand,  is  one  of  the  finest  examples  of  this  school  of  drawing. 
This  new  fashion  of  "representative"  or  pictorial  art  obviously  could 
not  have  free  play  so  long  as  the  surface  of  the  vases  was  divided 
up  into  narrow  zones,  and  the  zones  into  short  panels,  as  was  the 
practice  of  the  geometrical  designers.  It  is  therefore  not  surprising 
to  find  that  about  the  same  period  as  the  first  pictorial  decorations, 
the  banded  and  geometrical  ornament  of  the  vases  is  restricted  to 
the  neck  and  handle,  and  the  whole  of  the  body  is  left  free  to  receive 
a  single  figure  or  pictorial  composition.  This  is  not  indeed  a  new 
practice,  as  has  been  seen  already  (598-9,  in  Wall-Case  17),  but  it 
became  very  popular  as  soon  as  there  was  this  fresh  reason  for  it. 
In  this  way  originated  a  new  series  of  oinochoai,  probabh'  in  the 
early  part  of  the  period  of  Egyptian  influence.  In  these  vases  the 
body  is  of  a  loose  and  rather  clumsy  form,  as  if  the  vase  were  of 
elastic  or  tensile  material,  and  distended  with  fluid.  'I'his,  like  the 
loose  forms  of  many  early  vases  in  Crete  and  the  Greek  Islands,  ma\' 
be  regarded  as  a  symptom  of  awakened  feeling  for  the  intrinsic 

90 


EARLY    IRON    AGE.       FABRIC    XVI 


quality  of  the  plastic  clay,  and  as  an  attempt  to  express  this  dis-  '^^^^^ 
covery  in  appropriate  form.     The  neck  is  usually  ver}-  short  and  ^q  21 
rather  wide;   the  lip   is   slightly    pinched;  and    there   is   often   a  22 
bird's  eye,  painted  on  each  side  of  the  spout.      The  body  is  devoid 
of  banded  ornament,  but  is  decorated  with  a  very  few  free-standing 
ornaments. 

721-740.  OiNOCHOAi,  of  the  "plain-bodied"  t}pe  above  described, 
with  various  ornaments,  the  simplest 
and  earliest  of  which  are  familiar  ele- 
ments of  the  geometrical  st}le;  the 
maltese  cross  721,  the  primitive  rosette 
722,  734,  the  arrow  ornament  722,  734, 
elaborate  triangle  724,  and  imitated 
hieroglyphics  732.  Concentric  circles 
occur  on  727,  and  a  vertical  band  with 
"lateral  excrescences"  on  733.  A  peculiar 
variety  of  swastika  recurs  on  739.  Then 
in  due  course  come  lotos  ornaments,  726, 
and  with  them  animals  of  different 
kinds:  a  Ihing  bird  723,  a  horse  725,  a 
goat  726,  and  a  stag  731.  These  lead  on 
directly  to  the  masterpieces  of  this 
school   of  vase-painting,   75 1    fT.  in  Floor 

Case  VI II.  A  rather  later  variety  has  a  more  flattened 
body  and  a  wider  neck.  Its  ornaments  consist  princi- 
pallv  of  very  hastily  drawn  birds,  736-8,  together  with  trees, 
735-(),  crosses,  735,  or  rosettes,  737.  Another  late  \ariet\',  728- 
Q,  has  a  neck  of  conical  shape.  The  patterns  are  geometrical 
and  more  carelessl}'  drawn,  and  red  paint  is  introduced. 
Hs.  loj  in.  —  5{  in.     Ferrot,  p.  ()()()  (72()). 

11,  942,  947  (725.  728). 


727 


(k)       VAShS   WITH    F5LLJE    PAINT   AM)  O'llirK    SVMI'TOMS   OF 
OKU-NIAL  INll.n-.NCI-.       74I-75O 

Two  Other  small  classes  of  objects,  \as(.'s  wilh  blue  paint,  and  bell-  ^^:i'l 
vases,  are  conveniently  noted  here,  as  the\  ilkislrale  other  s\'mptoms  ^^ 
of  Oriental  influence.      Both  belong  to  the  end  of  the  Middle  Iron 
Age,  and   do  not   persist   lor  long,   disappearing   altogether  before 
the  first  distinct  traces  of  fresh  contact  with  the  (Jreek  West. 
Many  of  the  tombs  of  the  Middle  Iron  Age  contain  pla\things  and 

91 


llli:    COLLlXniON    OF    POTTHRY 

\^ -i"    other  nioelollotl  objects  of  terracotta;  numerous  examples  of  these 

"^-,    are  exhibited  in  the  (j)lleclion  of    Terracottas.     Besides  figures  of 

men  and  animals,  bells  are  parlicularl\'  common,  and  being  almost 

wholh'  wheelmade,  are  properl\'  represented  as  examples    of    the 

potter's  art. 

741-6.  BiiLLS  of  wheelmade  cla\',  painted  with  black  and  red  bands 
like  the  white  ware  vases:  the  clapper,  probabh'  a  pellet  of 
baked  cla\-,  was  tied  b\-  a  cord  through  a  small  hole  at  the 
crown  of  the  bell.  The  handle  is  formed  by  a  small  knob,  741, 
which  is  sometimes  replaced  by  a  rude  head  of  an  animal, 
742,  or  bird,  744;  or  a  pomegranate,  743,  or  human  head, 
745;  or  the  upper  part  of  the  bell  is  furnished  in  addition  with 
the  arms  and  shield  of  a  warrior,  746.  The  last-named  has 
blue  paint  as  well  as  black  and  red.  Compare  the  bell-shaped 
figures,  2040-9,  in  the  Collection  of  Terracottas:  the\-  all  belong 
to  the  Middle  and  Later  Iron  Age,  and  are  commonest  in  the 
earlier  part  of  the  period  of  Oriental  influence.  Hs.  4^  in. 

—  2\  in.  11,  61,  257  (745,  74O). 

747-tO.  Vashs  with  Blub  Paint  and  other  Polychrome  Dec- 
(JRATION.  In  these  vases  the  red  paint  is  the  same  as  that 
on  the  ordinar\-  painted  ware,  but  the  black  is  replaced  wholl}' 
or  in  part  b\'  blue. 

The  blue  pigment  is  of  chalk\-  texture,  and  has  often  deca\ed 
to  a  pale  green  tint:  it  seems  to  be  composed  of  the  same 
materials  as  the  blue  glaze  of  the  Egyptian  amulets  which 
become  common  in  the  period  of  Oriental  influences  and  of 
the  blue-painted  potter\-  of  Kg\pt  itself,  though  the  latter 
is  not  recorded  from  C\prus.  The  occurrence  of  blue  paint 
in  (^\prus  ma\'  probabl\-,  therefore,  be  regarded  as  another 
s\mptom  of  contact  with  Hg\  pt.  'I"he  blue-painted  \ases  are 
almost  alwaxs  small  plates  and  bowls.  The  forms  are  the 
same  as  those  on  the  ordinary  White  Painted  Ware,  and 
belong  for  the  most  part  to  varieties  of  the  sixth  and  fifth 
centur\'  date.  'The  bell-shaped  warrior,  746,  shows  traces  of 
the  same  blue  paint  instead  of  black  on  his  shield,  and  the 
plain  bell,  742,  has  blue  and  yellow  bands,  as  well  as  red  and 
black. 

Later  \ases,  77<S-(Si  in  Wall-Case  23,  also  show  a  bright  v'ellow, 
in  addition  to  black  and  red.     'The\'  are  commonest  in  tombs 
at    Amathus   of  the  early   fourth  centur}',   but  may  perhaps 
92 


EARLY    IRON    AGE. 


FABRIC    XVI 


begin  earlier.     Other  examples  of  polxehrome  ware,  probabI\'    ^^-'H 
of   Hellenistic    and   Graeeo-Roman    date,  are  040-1,  943,  947,    ^2 
931    in  Wall-Case  2<S.      The  saucer,    74(),  has  triangular  open- 
ings cut  through  it,  like  v%-7,  to  imitate  openwork  in  wood  or 
basketry.  Ds.  6^  in.  —  4^  in. 


(1)       VASES    WITH     PICTORIAL    DESIGNS.       751-775 

In  Floor-Case  \'11I  are  collected  together  the  richest  series  of  the 
pictorialh'-decorated  \-ases  of  C\'prus  which  exists  in  an\-  single 
museum,  together  with  a  few  other  \ases,  773-5,  of  rare  fabric  or 
peculiar  interest.  The  pictorial  \ases  751.  75-2  are  among  the 
finest  known  examples  of  (^\-priote  painted  potterw  rhe\'  con- 
tinue the  series  of  loosel\-  shaped  globular  oinochoai  721-40,  alreadv 
described,  and  seem  to  belong  to  the  se\enth  or  earl\-  sixth  centur\- 
B.  C.  Thev-  are  contemporar\-,  that  is,  with  the  Twent\-sixth 
D\'nast\-  of  Eg\-pt;  and  this  date  is  sustained  b\-  the  character 
of  the  representations. 

751.       OiNOCHOE    WITH    SaCRED    TrEE    AND    lIlMAN    W'oRSHI  PPE  RS. 

On  the  neck  of  the  vase  are  wa\\'     ... 
lines    in    red    and  black,  and  on 

either  side  of  the  lip,  which  is 
onh'  slighth'  pinched,  is  a  hirtl's 
e\e  composed  of  concentric  cir- 
cles. Below  the  handle,  which 
has  a  binding-ornament,  is  a  long 
stripe  of  black  paint  tapering  to 
a  point,  from  w  hicli  issues  a  bird's 
wing  on  either  side,  decorated  in 
red  and  black. 

The  whole  of  the  bod\'  is  gi\en 
up  to  the  [irincijtal  ilesign,  a  pair 
of    human    figures     standing    on 

I'ither  side  ot  an  elaborateh    con- 

75 ' 
\entional  lotos  plant  which  seems 

luTe  to  lake  the  place  ot  t  lie  "sabred  tree."  socommonh'  repre- 
sented in  .\ss\rian  sculpture.  l5oth  ligure^  wear  long  garnu'nts 
which  show  a  double  hem  at  the  neck,  and  a  seam  round  the 
junction  ot  arm  and  boil\  ;  conifiare  the  seams  on  the  sculptured 
tunic  of  1052  in  Wall -Case  >,2.  The  extent  of  the  slee\'i'>  is  not 
clear,  as  the  hainis  an-  painted  in  ihe  s;ime  red  colour  as  the 


Flof)r 
Case 
\lll 


<J3 


THE    COLLECTION    OF    POTTERY 

I'looi  dress,   and   it   is  possible  that   the    artist's   intention   was  to 

\\T\  represent  the  arms  as  bare  and  issuing  from  a  garment  without 

sleeves.  Each  figure  wears  bracelets  on  both  arms.  The 
girdle  in  each  case  is  concealed  by  one  arm,  but  its  long  ends, 
black,  with  white  cross-bands  and  fringe,  hang  down  nearly 
to  the  hem  of  the  dress,  which  has  likewise  a  decorative  fringe. 
Below  this  the  feet  are  represented  in  black  as  if  shod  with 
high  boots.  On  the  breast  of  each  figure  is  an  oval  object 
suspended  from  the  neck,  and  decorated  with  transverse  bands 
of  black:  it  seems  to  be  one  of  the  spindle-shaped  charms  which 
are  worn  by  the  sculptured  "temple-bo}-s"  in  Wall-Case  46. 
The  profiles  of  the  faces,  and  the  eyes,  eyebrows,  and  cars, 
are  represented  by  black  outlines,  like  the  faces  of  men  and 
animals  in  the  archaic  Greek  styles  of  Miletus,  Melos,  and 
Aegina.  The  profiles  resemble  those  of  the  primitive  terra- 
cottas which  preceded  the  regular  Orientalizing  st}le  in  Cyprus: 
compare  143  i  in  Floor-Case  X,  and  2138-9  in  the  Collection  of 
Terracottas.  The  eyes,  on  the  other  hand,  are  drawn  full-face 
in  accordance  with  Egyptian  convention. 

The  sacred  tree  which  stands  between  the  figures  consists 
of  a  conventional  lotos  flower,  with  large  lateral  petals  in  red 
outlined  with  black,  and  a  centre  composed  of  a  chequered 
triangle,  surmounted  b}'  another  lotos  flower  with  its  buds. 
On  either  side  of  the  lower  lotos  are  "lateral  excrescences"  of 
the  conventional  type  (595-7),  from  which  spring  other  small 
lotos  buds.  Below  these  excrescences  another  lotos  flower 
with  its  buds  shoots  out  from  the  stem  on  cither  side.  The 
two  figures  turn  their  faces  outwards,  and  away  from  the 
lotos  tree.  One  hand  of  each  is  raised  towards  the  tree,  while 
the  other,  stretched  across  the  bod\',  grasps  one  of  the  larger 
petals  of  the  centre  lotos  flower. 

Each  figure  is  escorted  by  a  fl>'ing  bird,  like  the  birds  on  752. 
That  on  the  right  hand  carries  its  head  erect  and  is  crowned 
with  a  plume.  The  head  on  the  left  is  depressed,  and  wears 
a  lotos.  On  both  sides  of  the  principal  group,  lotos  flowers  and 
foliage  appear  in  the  background.  H.  9-4  in.         Perrot,  fig. 

521. 

752.  OiNocHoti  WITH  Sacrhd  Tree,  Birds,  and  Animals,  of  the 
same  form  and  fabric  as  751.  The  neck  of  the  vase  has  the 
same  ornamentation  of  bird's  e)'es  and  wavy  lines  as  751,  and 

94 


EARLY    IRON    AGE.       FABRIC    XVI 

there  is  the  same  pointed  ornament   below  the  handle,   onlv    Floor 
...  "     Case 

without  wings.  ,«a^^^^»^^^-r™i«K    Vlll 

The  principal  design  is  an  elabo- 
rate lotos-tree  similar  to  that  on 
751,  attended  by  a  pair  of  flying 
birds  drawn  in  the  usual  conven- 
tional st\ie.  Be\ond  each  bird  is 
another  animal;  on  the  right  a 
winged  goat  or  chamois,  running 
away  from  the  central  group, 
but  looking  back  towards  it.  Its 
face  is  drawn  in  outline,  like  the 
faces  of  the  men  on  751,  but  the 
rest  of  the  bod\-  is  in  solid  black 
colour,  within  which  a  small  geo- 
metric panel  and  two  rosettes  are 
left  blank  on    the  white  clay  of 

the  vase  with  internal  details  m  black:  compare  608  in 
Floor-Case  V,  694  in  Wall-(^asc  20,  and  699  in  1-door-Casc 
VI.  The  tail,  like  the  head,  is  represented  in  outline,  but  was 
perhaps  filled  originally  with  red  paint. 

On  the  left  is  a  horned  deer  advancing  towards  the  central 
group,  with  head  lowered  as  if  grazing.  This  animal  also  is 
winged,  and  has  similar  rosettes  and  panels  of  geometrical 
ornament.  Behind  it  rises  a  Iot(«  tlower  with  a  long  stalk 
and    four   leaves.         H.   9]    in.  11,857. 

"53.  OiNocHOH  WITH  lluMAN-Hi-;Ar)iiO  AloNSTi-R,  of  the  same  form 
and  st)'le.  Its  onl\'  ornaments  are  the  usual  bird's  eyes,  and  a 
sort  of  swastika  on  the  lip,  and  as  the  principal  design,  a 
small  winged  cjuadruped  with  human  head.  The  body  of  this 
creature  is  in  black  outline  filled  with  red;  and  the  head  in 
black  outline  with  the  hair  in  solid  black.  The  wings  ha\e 
con\entional  feather-ornanunl ;  and  patches  of  hair  on  the 
throat,  sides,  and  hind  (juarters  are  similarly  "feathered"  in 
black  outline.  The  creature  is  represented  as  if  running  in 
the  air,  in  a  vigorous  and  lifelike  manner.  Its  significance  is 
not  known.  II.  Sin.  Perrot,  fig.  5  19         Periot's  (ig.  5  17 

is  not  in  this  Collect  ion 

"S4-39a.  OiNociioAi  Willi  I'ird'-,  of  the  sann' form  and  fabric  as 
751-5.     Of  the  birds  the  most  naturaliotic  is  75^;;  the  head  is 


95 


Ildor 
Case 
Mil 


THl-:    (.Ol.l.lCl  ION    OF    POTTERY 

finel\'  represent  Oil  in  outline,  ;incl  there  is  a  lotos  plant  in  the 
ba.'k^rouiul  behinJ  the  neek.  H.  ()s  in.  II,  ()5S. 

755.  The  bird  is  shown  standing.  Its  head  is  in  outline; 
the  nearer  wing  and  tail  are  tilled  with  feather  ornaments,  and 
in  the  hinder  wing,  whieh  is  shown  raised  over  the  back,  two 
feathers  of  the  wing-cover  rise  separateh'  behind  the  head. 
H.  8  in.  n.  070 


753 


"34 


756.  The  bird  is  running.  The  head  is  in  solid  black  and 
the  tail  \er\-  short;  the  nearer  wing  tills  nearl\-  the  whole  of 
the  bod\-  space;  the  hinder  wing  is  \ery  long  and  elaborate, 
with  two  loose  feathers  on  the  upper  margin,  as  on  755.  In 
front  of  the  head  is  a  third  wing,  as  though  the  artist  had 
attempted  to  represent  the  bird  in  front  \iew  and  in  profile 
at  the  same  time,  (^onijiare  the  .Assxrian  and  Hirtite  de\  ice 
of  gixing  a  fifth  leg  to  a  lion  when  sculptured  on  the  angle- 
block  of  a  building.  H.  ij]  111. 

757-  The  hinder  wing  and  tail  are  cntirel\'  con\entionalized 
into  triangular  forms.  The  thirtl  wing  issues  behind  the  heaci 
in  flamboxant  outline  and  is  filled  with  the  same  semicircles 
and  feather  ornaments  as  are  emplowd  for  the  wing  in  front. 
The  bird  is  in  the  act  o'"  catching  a  fish,  drawn  in  highl\-  con- 
ventional fashion,  with  \  er\'  long  fins  and  an  arrow  ornament 
towards  its  tail;  another  arrow  ornament  in  the  background 
points  in  the  direct i(;n  of  its  mouth,  and  in  the  mouth  itself 
is  a  swastika:  compare  the  fish  on  760  hereafter.      In  the  back- 

96 


EARLY    IRON    AGE. 


FABRIC    XVI 


ground,  above  the  bird's  head,  is  a  square  panel,  outh'ned  in 
red,  and  filled  with  zigzag  lines  in  black.  Similar  panels  have 
been  noted  already  on  673  and  732;  they  are  probably  in- 
tended to  represent  hieroglyphic  writing.  H.Of  in.  Cy- 
prus, PI.  xlvi;  Perrot,  fig.  510.  II,  960. 

758.  A  flying  bird,  with  head  drawn  in  outline,  is  represented 
as  if  about  to  feed  upon  a  con\  entionalized  lotos  flower.  In 
the  background  are  zigzag  lines  and  a  lotos  flower  in  black. 
H.  -jl  in.  1 1,  959. 

759.  A  panel  of  geometrical  ornament  with  "lateral  excre- 
scences" stands  between  two  fl\ing  birds,  more  simply  drawn 
than  usual.  In  the  field  are  four  swastikas.  H.  7  in.  Cy- 
prus, PI.  xliv,  fig.  34;  Perrot,  fig.  513.  11,  950. 
759a.  A  single  large  bird  flies  with  only  one  raised  wing,  the 
place  of  the  other  being  taken  by  a  lotos  flower;  in  front  is  an 
arrow  ornament.          H.    io|  in.         (^\prus,  PI.  xlvi.      11,948. 

760.  OiNOCHoi';  WITH  A  Pish,  like  that  on  757;  with  the  swastika 
in  front  of  the  mouth  as  in  759,  and  patches  of  zigzag-ornament 
in  the  field.         H.  7I  in.  II,  965. 

761.  OiNOCHOE  WTiH  A  Shii>;  painted  in  black  silhouette,  with 
considerable     detail.         The     prow     rises 

abruptly,  and  carries  a  fighting-deck  on 
open  supports.  There  is  one  mast  with 
single  furled  sail,  two  sta\'s,  and  two 
halliards  on  the  \'ard  to  adjust  the  sail. 
The  stern-post  rises  in  a  bold  curve,  and 
ends  in  a  water-bird's  head  which  looks 
forward.  There  are  two  rudders,  and 
screens  to  protect  the  steersman.  H.  ()l 
in.         (]\prus,  PI.  xlv;  Perrot,  fig.  529-30. 

1 1 ,  9()4 

762.  OiNOCHOh    WTIH    A     Rl'nnmno    .Mak,    in 
black    silhouette.        He    is    dressed     in     a 
short   tunic,  and   holds  two  spears  in   his  left   hand.       There 
are  no  internal  details.  H.  7]  in. 

763.  \'arkc)w-nit:ki:1)  }\  (,,  with  plain  lip.  The  design  on  the 
shoulder  consists  of  a  con\cnl  ional  lotos  in  front,  supported 
on  each  side  b\-  a  ram-headed  serfient  in  black.  On  the  left, 
near  the  handle,  ro(jm  has  been  found  also  for  a  human  head, 


Floor 
Case 
Vlll 


■^*#=4 


97 


TUL-    COLLl-CnON    Ol-    POTTERY 

F|nor  drawn  in  outline  as  usual,  with  sharp-featured  f-)rorile  and  wide 

y'lii  open  e\e.     The  hair  falls  in  a  solid  mass  down  ihe  back  of  the 

neck,  which  issues  from  a  close-fitting  garment.  In  the  field 
are  two  groups  of  zigzag  lines,  like  those  of  757,  760.  The 
lower  part  of  the  bod>'  is  covered  with  broad  and  narrow  bands, 
and  here  the  paint  is  rather  more  faded  than  usual.  The 
paint  on  the  shoulder,  on  the  other  hand,  is  unusually  brilliant, 
as  though  the  vase  had  been  painted  in  two  distinct  stages,  or 
with  different  materials.  At  first  sight  this  gives  the  impres- 
sion that  this  vase  has  been  retouched,  or  overpainted  recentlv, 
but  closer  examination  makes  it  certain  that  both  the  bright 
and  the  dull  paint  are  alike  ancient.  Probably  the  artist's 
paint  was  running  short,  when  he  began  work  on  the  neck, 
and  he  mixed  a  fresh  supply  before  touching  the  principal 
subject.         H.  74  in. 

764.  OiNOCHCJH,  of  the  same  form  and  fabric  as  751-c).  The 
decoration,  however,  is  purely  geometrical,  and  may  be  rather 
earlier.  In  front  is  a  broad-armed  cross,  filled  with  geometrical 
ornament,  with  a  lotos  bud  growing  out  of  each  angle.  On 
either  side  is  a  rectangular  panel,  filled  with  similar  geometrical 
ornament,  and  there  is  a  dotted  rosette  in  the  field  on  each 
side  of  the  cross.  The  ornamental  stroke  at  the  base  of  the 
handle  is  brought  around  in  a  wide  curve  like  a  whip-lash  on 
either  side.  A  vase  of  this  fabric,  found  by  General  Cesnola, 
but  now  in  the  Pitt  Rivers  .Museum  in  Oxford,  has  this  orna- 
ment prolonged  into  a  human  hand,  to  enhance  the  efTect 
produced  by  the  general  form  of  the  vase,  and  its  bird's  e}es. 
H.  11^  in. 

Though  the  plain-bodied  oinochoai  above  described  offered  by  far 
the  most  ample  field  for  these  pictorial  designs,  it  must  not  be 
supposed  that  they  were  confined  to  this  form.  Really  fine  examples, 
however,  on  other  shapes  of  vases  are  not  common. 

767.  Barki-:l-Jug,  with  a  strainer  inserted  in  the  lip.  On  the 
hood  abcjve  the  strainer  is  an  ornament  of  concentric  coils  like 
those  on  645-5  in  Wall-Case  19,  drawn  in  white  paint  on  a 
black  ground,  as  if  to  represent  a  fringe  of  hair,  'fhis  is  an 
unusuallv  earl>'  example  of  the  use  of  white  paint  for  details. 
Such  enhancement  never  becomes  ccjmnK^n  on  the  White  Ware, 
but  is  common  on  the  Red  Painted  Ware  and  Dark-ground 
Wares  in  Wall-Cases  24-6.     The  body  of  the  vase  is  divided  into 

q8 


EARLY    IRON    AGE.       FABRIC    XVI 

zones  by  a  series  of  vertical  circles.  The  central  zone  contains  a 
flying  bird  of  the  usual  t\pe,  and  a  rectangular  panel  filled 
with  zigzag  lines.  Each  lateral  panel  contains  a  rosette  of 
eight  leaves,  alternately  black  and  shaded,  on  either  side  of 
which  is  a  conventional  lotos  flower  in  red  and  black.  A 
small  outer  zone  at  each  end  of  the  vase  shows  a  panel  of  geo- 
metrical ornament,  flanked  by  "lateral  excrescences"  in  solid 
black.         H.   I  ft.  2  in.         Cyprus,  p.  405;     Perrot,  tig.  496. 

766-7.  OiNOCHO.M,  with  the  customar\'  "vertical-circle"  ornament 
on  the  body.  The  central  panel  of  766  shows  a  highly  con- 
ventionalized bird,  like  that  on  757,  together  with  a  rosette 
and  geometrical  ornaments.  The  two  lateral  zones  have 
geometrical  panels  like  those  on  765,  flanked  b\-  the  usual 
excrescences.  On  767  the  central  panel  contains  only  elaborate 
geometrical  ornaments  in  red  and  black,  and  the  lateral  zones 
only  a  single  series  of  arrow-headed  lines  like  those  on  722. 
Hs.  3^  in.,  1 1  in.  II,  973. 


Floor 
Case 
\1II 


f^onversel\',  other  designs  besides  the  con\'ent ional  birtis  are  fairly 
ccjmmon  on  the  "bird-jug"  tvpe  of  oinochoe.  bxamjiles  on  a 
smaller  scale  ha\'e  alreadx'  been  noted,  ']2^-(^,  751,  in  b'loor-Case  21. 

76rS-9.  OiNociioAi  WITH  lIoKsi-.  AM)  Rii)i-.K.  lu  7()iS  there  is  a 
lotos  (lower  in  front  of  llu'  horse  ant!  Iwo  dotted  rosettes  and 
an  arrow  ornament  in  the  field.  i  he  bod\'  of  the  horse  is 
drawn  in  solid  black,  but  the  neck  and  head  are  in  outline, 
and  are  filled  with  crossed  lines  representing  the  mane.      The 

09 


THH    COLLECTION    OF    POTTLRY 

Moor  inner   spaces   of  the   head    ha\e   also   red    paint.     There   are 

\''ljl  two  huge  plumes  on  the  top  of  the  head,  and  the  hairs  of  the 

tail  are  rendered  hv  arrow-shaped  lines.  The  rider  is  repre- 
sented in  childish  fashion  as  if  standing  astride  on  top  of  the 
horse.  His  legs  are  in  solid  black;  his  body  has  crossed  lines 
representing  draper}-;  his  arms  and  head  are  in  outline,  and  he 
seems  to  be  wearing  a  helmet  with  brim  projecting  in  front 
and  behind.  The  inner  spaces  of  his  arms  are  filled  with  red. 
769  has  a  similar  representation.  The  horse  is  entirely  drawn 
in  outline  and  filled  with  red.  On  the  hind  quarters  is  an 
ornament  of  concentric  semicircles,  and  the  tail  is  elaborated 
into  a  lotos  bud.  On  the  head  of  the  horse  is  a  highl\'  decorated 
crest,  like  the  stilted  crest  of  the  helmets  on  the  "Early  Attic" 
group  of  Greek  \'ases.  It  is  intended  here  to  represent  a  plume 
of  horsehair  or  feathers  like  that  worn  b\'  Eg\"ptian  chariot- 
horses  in  general.  The  bridle  of  the  horse  is  grasped  in  the 
left  hand  of  the  rider,  who  is  drawn  in  outline,  with  red  filling. 
Both  his  legs  are  represented  as  passing  on  the  further  side  of 
the  horse.  He  is  bearded,  and  has  long  hair  on  the  back  of 
the  neck.  In  the  field  are  swastikas,  arrow  ornaments,  and  a 
triangular  design  with  elaborate  filling.  On  the  neck  of  the 
\-ase,  which  is  longer  than  usual,  there  is  a  panel  filled  with 
zigzag  lines  and  flanked  b\'  arrow  ornament  on  either  side;  and 
on  the  rim  are  bird's  e>'es.  Hs.  13  in.,  8f  in.  C\'prus, 
p.  333  (768).  H,  969, 

770-2.  OiNOCHOAi  WITH  HoRNED  .Anim.als.  On  770  the  body  and 
legs  are  drawn  in  solid  black,  but  panels  filled  with  geometrical 
ornament  are  left  on  the  hind  quarters  and  neck.  The  head 
is  in  outline  and  tail  erect.  In  the  field  are  four  crosses  in  red 
with  dots  between  the  arms.  H.  10}  in. 

771  has  a  \'er\'  similar  quadruped  with  the  same  geometrical 
panels  and  dotted  crosses.  It  has.  also,  two  long,  wa\'_\'  locks 
of  hair  behind  the  horns.  H.  7  in.  11,  945. 

772  has  the  animal  more  simplx'  drawn,  in  solid  black,  with  the 
head  in  outline,  and  the  neck  filled  with  red.  There  are  no 
ornaments  in  the  field.  H.  ~l  in. 

With   the  pictorial   vases  above   described    ma\'  be   convenientl}' 
grouped  a  few  other  masterpieces  of  C\'priote  \ase-painting. 

773.  K\Lix  with  tall  foot  and  high  handles:  a  \er}'  remarkable 
^■ase,  since  one  side  of  the  bowl  is  modelled  into  the  face  of  a 


EARLY    IRON    AGE.       FABRIC    XVI 

monke\',  with  large  ears  perforated  as  if  to  hold  earrings  of  Hoor 
metal.  The  features  are  indicated  partly  h\'  remodelling  the  y\\^ 
wheelmade  bowl  and  partl\'  b\'  black  paint,  with  which  the 
whole  of  the  rest  of  the  surface  is  covered.  Similar  animal- 
headed  and  human-headed  \ases  occur  rarel\'  in  Attic  work  of 
the  earl}'  part  of  the  fifth  centurx',  but  the  fabric  of  this  vase, 
and  in  particular  the  form  of  its  foot,  suggest  the  st_\le  of  a 
ver\-  much  earlier  period,  not  long  after  the  end  of  the  M\- 
cenacan  Age.  In  the  absence  of  an\'  precise  record  of  dis- 
covery, the  date  must  be  left  undecided.         H.  yl  in. 

11,11  lO. 

774.  Two-handled  Cup,  of  unusual  form  and  fabric.  The  cla\- 
is  peculiarh'  white  and  hard,  but  quite  lustreless,  and  distinct 
from  that  of  the  .Mycenaean  vases.  One  thin  line  is  drawn  in 
hard  black  paint  on  the  outside,  and  the  inside  is  co\ered 
with  the  same  paint,  except  a  single  band  about  one-third  down 
from  the  rim,  which  is  left  white.  The  pigment  resembles 
that  of  the  .M\cenaean  vases,  but  has  been  so  completelv 
absorbed  bv  the  clay  that  it  has  almost  entirel)-  lost  its  lustre. 
H.  3^in. 

775.  Inscribed  Bowl,  of  deep  angular  form  like  the  early  k\iikes, 
but  rising  to  a  narrower  mouth.  It  has  a  low  foot  and  two 
handles,  and  is  an  unusuall\-  fine  example  of  rich  geometrical 
design.  The  centre  panel  on  either  side  contains  the  usual 
latticed  lozenge,  with  lateral  triangles  on  a  ground  of  red 
chequers.  The  lateral  frames  of  the  panel  are  enriched  with 
a  string  of  small  lozenges.  The  handles  on  each  side  are 
double  and  represent  the  head  and  horns  of  a  goat,  as  on  4()6 
in  Case  n,  and  403  in  (^ase  12.  Painted  in  the  under  side  of 
the  hod\'  is  a  short  Phoenician  inscription  /^  V  described,  with 
other  inscriptions,  in  the  .Appendix.  11.  74  in.  C\prus, 
p.  68;     Pernjt,  fig.  47().                                                        11,  1047. 


H1-:LLFNIC  AGE:  EARLY  OR  HELLENIC 
PERIOD:  ABOUT  500-300  B.  C. 

FABRIC   XVI.      WHITE    PAINTED    WARE    (CONTINUED) 

(m)       COARSfc    AND    DHGhNERATE    VARIETIES,    SOME 
INFLUENCED    BY  HELLENIC  ORNAiMENT 

"^^'all         A       FTER    the    middle    of    the    fifth    centur\-   the   "Graeco- 
ase        /%        Phoenician"  pottery  degenerates  rapidlw     l^he  forms  be- 


23 


A 


come  coarse  and  hea\\',  and  the  ornament  careless  and 
infrequent.  The  series  of  oinochoai  710-719  in  Wall-Cases 
21-2,  which  are  for  the  most  part  of  the  fifth  centurx,  ha\c  alread\- 
illustrated  this.  Other  forms  of  late  date  are  collected  in  Wall- 
Case  23. 

776.  Wine-Jar  with  flat  shoulder  and  rounded  bottom.  The 
onh'  ornament  is  a  band  of  red,  edged  with  black  round  the 
middle  of  the  bod\-.  This  form  supersedes  the  more  conical 
form  which  was  in  use  in  the  seventh  and  eighth  centuries. 
It  has  been  found  forming  part  of  a  regular  dinner-ser\ice  in 
a  sixth  century  tomb  at  Kition,  now  in  the  .Ashmolean  .Museum, 
Oxford.  It  was  designed  to  be  supported  on  a  separate  base 
in  the  form  of  a  cla\'  ring,  of  wtiich  there  are  examples  in  the 
set  above  mentioned.     H.  13!  in. 

777.  Amphora  of  a  t\'pe  which  is  common  at  .Amathus  in  tombs 
of  the  late  sixth  centur\'  and  of  the  fifth.  It  combines  con- 
centric circles  on  the  neck  with  carelessl}'  drawn  trees  on  the 
bod\'.  Compare  the  similar  tree  ornament  on  the  same  form 
of  amphora  7S6  and,  later,  on  953-7.         H.  12^  in.       II,  989. 

778-81.      Krater-Amphorai    of   peculiar   form    and  fabric.      The 
ornaments  include  rough  latticed  figures  of  o\al  shape    (778, 
779),  together  with  the  cable  ornament    (779),  which  does  not 
102 


HELLENIC    AGE.       FABRIC    XVI 


usually  occur  later  than  the  sixth  centur\',  and  the  fish  (778), 
which  again  is  usually  an  early  motive  as  on  757,  760  in  Floor- 
Case  VI 1 1.  The  ornament  of  780  is  similar;  rough  red  lozenges 
in  a  black  frame  on  the  shoulder,  and  a  carelessly  drawn  bird  on 
the  neck.  Some  of  the  spaces  in  the  pattern  are  filled  with 
bright  \ellow  paint:  compare  742  in  Wall  Case  22.  781  has 
roughlv  drawn  trees  on  the  shoulder  and  broad  bands  on  the 
neck.  Though  of  similar  clay  and  paint,  it  is  probably  later 
than  778-80:  similar  vases  have  been  found  in  fifth  and  fourth 
century  tombs  at  .Amathus.         Hs.  81  in. — 5'i,';in. 

II,  913,  924  (779,  780). 


Wall 
Case 
2^ 


794 


782-786.  .Miniature  Vases  reproducing  characteristic  forms  of 
the  Hellenic  period:  compare  640-2  with  782,  and  537  with  785. 
The  p(jinted  wine-jars  copied  in  783,  786  belong  to  the  si.xth 
and  fifth  centuries. 

The  miniature  amphora  784  is  of  a  fabric  which  is  peculiar 
t(j  .Amathus,  and  persists  there  through  sexeral  \arieties 
from  about  5,0  to  330  B.  (>.;  its  principal  zone  of  ornament 
lies  at  the  greatest  width  of  the  hudv  and  consists  of  three 
panels,  of  which  the  lateral  ones  are  filled  with  lattice  and  the 
central  one  with  a  lotos  (lower  and  buds,  flanked  b\  con\en- 
tional  trees.  The  finest  examjiK-s  of  t his  t\'pe  (British  Mus- 
eum, (^  'S32-845)  ha\e  \er\'  iTd^orate  geometrical  ornament 
on  the  neck  and  shoulder,  aiul  figures  or  scenes  on  the  panel 
zone,  executed  in  a  st\le  borrowed  from  the  "  black-ligured" 
vases  of  (ireece,  with  details  frt-i'lv  rendered  bv  incised  lines. 
Hs.  j\  in.    -  3.',  in.  Doell,  x\  i,  i  •>,,  35()()  (784). 

7<S7-(ji.  OiNocnoAi  of  Lite  forms,  decorated  with  broad  and  narrow 
bands;  'j^^-'j()()  also  lia\e  conct'iitric  circles,  and  787  has  a 
tree  iiainted  on  the  shoLiKler.  lis.  i),\,  in.-    6  in. 


103 


Wall 

Case 

^3 


THE    COLLECTION    OF    POTTERY 

702-705.  Vashs  with  Tubular  Si'<juts.  These  probably  served 
as  children's  feeding  bottles,  and  have  been  commonly  found 
in  the  graves  of  women  at  Amathus.  They  are  of  various 
dates  from  the  Early  Iron  Age  to  the  fifth  century,  but  become 
commonest  in  the  later  periods,  and  are  therefore  grouped 
together  here. 

702  is  of  sub-M\cenaean  form  .with  the  handle  arched  over 
the  mouth,  and  rudely  drawn  lotos  flowers  on  the  shoulder: 
compare  with  480,  686.  Such  forms  persist  long  in  Cyprus, 
and  probably  this  example  is  not  earlier  than  the  seventh  or 
sixth  centur}'.         H.  8  in. 

703  has  the  neck  modelled  as  a  woman's 
face  with  long  masses  of  hair  falling  on 
the  neck  on  either  side;  round  the  throat 
is  a  necklace  with  pendant.  The  two 
spouts  project  from  the  breast  of  the 
figure,  it  may  be  of  the  early  sixth  cen- 
tur\'.  Compare  030,  03 '  •"  the  Painted 
Red  Ware  in  Wall-Case  27.  H.  io|  in. 
Doell,  xvi,  23,  4061;     Cyprus,  p.  402. 

II,  008. 

704  has  the  spout  and  the  whole  front 
of  the  \ase  fancifully  treated  as  a  gro- 
tesque face  with  painted  eyes.  This  t}'pe  is 
Amathus  in  tombs  of  the  fifth  and  fourth  century,  and  there 
are  still  later  examples  in  dark-coloured  ware  with  white  paint, 
034-5  in  Wall-Case  27.         H.  5  in.  Cyprus,  p.  405. 

705  is  a  degenerate  example,  with  narrow  neck  and  upright 
handle;  probably  of  the  fourth  century.  H.  5-5  in. 

706-8.  Torch-Holders:  a  rare  form  of  \cssel,  shaped  like  a  large 
candlestick  standing  in  a  wide  saucer.  On  the  margin  of 
the  saucer  of  707  is  a  slight  pinched 
lip.  Objects  of  this  t\'pe  form  part  of  a 
dinner-service  in  the  rich  tomb  at  Kition 
already  quoted  on  the  wine-jar  776. 
Similar  \ases  of  much  earlier  date  arc 
known  from  Eg\pt  and  from  Tell-cl- 
Hesy  on  the  Syrian  coast.      It  is  believed  ygS 

that  the)'  served  to  hold  torches,  but  the  purpose  of  the  lip 
in  the  saucer  is  not  quite  clear.     Here   there   is   no  painted 

104 


HHLLHNIC    AGF.       FABRICS    XVI    AND    XVll 

ornament,  but  one  of  the  specimens  from   Kit  ion  has  a  broad    ^^^i" 
band    of    red     paint.  Hs.  3^  in.,  i^  in.,  2^  in.  ""^ 

799-800.  Deep  Bowls  without  ornament,  except  for  a  black  band 
along  the  rim.  The\'  are  commonl\-  used  as  drinking  cups 
from  the  sixth  to  the  fourth  century  at  Kition  and  elsewhere. 
Hs.  2I  in.,  42  in. 

Later  developments  of  the  White  Painted  Ware  are  grouped  with 
other  vases  of  the  Hellenic  Period  929  ff.  in  Wall-Cases  27-28.  But 
it  will  have  been  observed  that  some  of  the  t}pes  already  described, 
782  ff.,  792  ft'.,  last  on  into  the  Hellenic  Period,  though  they  are 
grouped  here  because  the\'  begin  before  it. 

FABRIC    XVII.       RFD     PAINTED    WARES 

Side  by  side  with  the  White  Painted  Ware  of  Fabric   xvi,  already    ^y  ,, 
described,  there  appears,  at  every  stage  in  the  Iron  Age  of  Cyprus,    Cases 
a  parallel  series  of  Red  Painted  Wares,  which  soon  supersedes  the    24,23 
earlier  Red  Wares  of  the  Bronze  Age  and  the  Period  of  Transition. 
in  these  fabrics  the  cla\'  is  brick-red,  sometimes  of  dull  surface 
like  the  White  Painted  Ware,  but  often  smooth,  hard,  and  almost 
lustrous.     In  the  standard  fabrics,  the  ornament  is  executed  wholly 
in  dull  black  paint,  but  there  is  a  distinct  and  coarser  variety  (Fabric 
d  below)  which  has  occasional  details  in  white.      The  designs  are  in 
general  similar  to  those  of  the  White  Painted  Ware,  but  the\-  show 
less  variet}'  and  are  almost  unaft'ected  by  either  Oriental  or  natural- 
istic influences.      Ihe  principal  fabrics  are  as  follows: 

(a)       RED   BLCCHERO  WARES  UlTH   I'AINTED  ORNAMENIS 

Theearliest  examplesof  this  ha\'ealread\'  been  studied  in  connection 
with  the  Red   Bucchero  fabric  in  Wall-(^ase  13. 

(b)     EARLY    IKON    AC.l-::    TRANSrnoNAL     REDDISH     WARE 
WITH     BLACK    AND    Rl-.D    PAINT 

This   is   confineti    to   the   earliest    Transitional   phases   of  the    Iron     Wall 
Age,  and   is  reall\-  an   intermediate  between   the  White    Ware  and     *-'^'-' 
the  standjrd  Red  Ware;  for  though  the  clay  is  recklish,  the  colour    "i,,,, 
seems  to  he  more  or  less  accidental ;  jnil  t  he  liecorat  ion  is  in  t  he  same 
black  ;is  is  customjrv  in  the  c;ise  of  the  While  Ware,  and.  like  it, 
is  often   eiihancetl  v\ith   bjnds  of  ;i   warm   red,  which  looks  ;ilmost 
crimson   against    the   reddish   surlace  of  the  claw      The  plate   ^57 


"IHl-    COl.LI-CnON    ()\-     I'OTllRY 


Wall 
(,;ase 

I  op 


in  \\'aII-C,ast'  2^,  with  ml  aiul  black  bands,  and  lattice  triangles 
like  4(h)-7()  in  \\'all-(^ase  13  and  5{)()-3  in  Wall-Case  i(),  is  a  fine 
example. 

80 1 -^  A.\ii>H()RAi  of  forms  like  the  White  Painted  Ware  in  Wall- 
Cases  14,  It.  with  simple  bands  and  geometrical  ornament; 
H02-}  ha\e  pale  reel  cla\-,  and  black  paint  onl\;  (Soi,  placed 
here  for  con\enience,  has  bands  of  white,  and  belongs  to  the 
same  Tricolour  Fabric  as  870-903:  compare  924-8  in  Floor- 
Case  VTI.      Hs.  13.1  in.,  I2j  in.,  I2§  in. 

804.  Spout-Jug,  or  Ft-:t:Di\(>B()TTLE,  of  earl\-  "  Kouklia"  form 
and  ornament,  like  S40  in  Wall-Case  i,.  This  is  a  t\pical 
example  of  this  Transitional  Fabric.         H.  6|  in. 


Wall 
Case 

Middle 


(c)       MIDDLE   IRON   .\GE:  STANDARD   FABRIC  WITH 
BLACK    PAINT  ONL'l' 

The  forms  have  a  general  resemblance  to  those  of  the  White  Ware, 
but  the  Red  Ware  treatment  of  them  has  alwa\s  something  pecu- 
liar, and  a  few  forms  are  almost  confined  to  the  Red  Ware.  Minia- 
ture \ases  are  far  commoner  in  this  ware  than  \'essels  of  normal 
and  useful  size.  The  decoration  consists  of  a  few  of  the  commonest 
elements  of  White  Ware  ornament,  namel\',  broad  bands  and 
grouped  narrow  bands;  concentric  circles  and  combinations  of 
\'ertical  and  horizontal  circles;  occasional  swastikas,  as  on  832-3; 
and  (\-er\'  rarel\')  fantastic  additions,  such  as  the  strainer  in  the 
neck  of  N18.  the  cow's  head  on  810,  anti  the  bird's  e\e  on  tin'  lip 
of  820.      The  following  e.xamples  are  txpical. 


^^(i()  812  S04 

803-808.  OiNOCHoAi  of  normal  size  and  \arious  lorm;  the  conical 
or  pearshaped  hr)dies  are  characteristic.  .-Ml  are  decorated 
with  the  same  schemes  of  \ertical,  horizontal,  and  concentric 


106 


HHLLENIC:    AGH.       FABRIC    XVII 

circles,  as  the  White  Ware  oinochoai,  706-713.         Hs.  8^  in. — 
5I  in.  II,  915,  920  (805,  806). 

809-817.  .Miniature  Barrel-Jugs,  and  kindred  types  of  flasks 
and  flat-rimmed  jugs,  like  the  White  Ware  types,  617-639  in 
Wall-Case  18.         Hs.  6i'',i  in. —  31V,  in. 


Wall 
Case 
24 
I  op 


818-824.  Fantastic  Oinochoai,  of  which  the  following  are  the 
most  noteworth}-:  818,  with  a  strainer  on  the  spout;  819,  with 
the  lip  shaped  as  the  head  of  a  horned  animal,  an  unusuall}' 
fine  example,  with  lustrous  surface  and  rich  \el\et\'  paint; 
821,  with  vertical  and  horizontal  circles,  and  an  elaborate 
rosette  in  the  front  panel;  824,  with  annular  bod\'  on  high 
iocjl,  like   the  Red   Bucchero  473  in  Wall-(^.ase   13.  Hs.  6| 

in. —  5.1  in.         (^\-prus,  p.  275  (818).  11,919,921  (8h),82i). 

823.  Spout-Jug  or  Feeding-Bottle,  of  (]\-pro-.Mi\'cenaean  form, 
like  686,  792,  with  a  loop  handle  across  the  neck.  H.  5^  in. 


826-833.  Hani)I.I:-Rii)ge  Jir,s,  of  the  same  \arieties  of  form  as 
in  the  Fainted  White  Ware()Si  If.  in  W;ill-(]ase  19.  Note  the 
swastika   ornament    on    the  shoulder  of  ^^2-5.  lis.  5:!;  in. 

—  2  in. 


107 


THE    COLLECTION    OF    POllLRY 


Wall 
Ceases 

24 
1  op 

and 


Wall 
Case 

lop 


Wall 

Case 

2^ 

Middle 


834-^39.  MiNiATL  RK  OiNocHoAi,  of  \arious  forms,  recalling  the 
Ked  Bucchcro  t>pes,  471-5  in  Wall-Case  13.  Hs.  3^  in.  — 
1 1 i  in. 

840-843.  MiMAiLRi:  Jlc.s,  with  eharaeterislic  conical  bodies; 
841-3  ha\e  a  peculiar  swollen  throat.  Hs.5  n';   in. —  2  I'V,  in. 

844-8,0.  .X.Mi'iioKAi  AND  Krathrs,  of  the  same  miniature  st\le, 
with  plain  hands  and  schemes  of  concentric  circles.  Hs. 
4i^  in. —  1 4  in. 

87I-853  Kratf-r  (851),  .Amphora  (852)  and  Oinochoe  (853)  of  un- 
usuall\-  large  si/.e  for  this  fabric;  with  simple  ornament  of  bands  and 
concentric  circles.  These  larger  and  coarser  vessels  link  the  finer 
fabric  with  the  imitations  which  are  grouped  under  (d)  below,  and 
853  has  e\en  a  few  dots  added  in  white  paint. 

Hs.  124  in.,  8i  in.,  13I  in. 

854-808.  I-'lai  HS,  Bowls,  etc.,  of  various  forms  and  periods,  with 
concentric-circle  ornament  like  the  White  Ware,  ()oo-6,  in 
Wall-Case  17.  The  earl\'  plate,  S^y,  with  geometrical  orna- 
ment on  the  under  side,  has  been  alread\'  noted  under  Fabric 
(b)  above.  The  kylix  863  on  high  foot,  with  low  cover,  864,  is 
in  a  technic]ue  akin  to  Fabric  (h)  (913-O)  below.  The  plate 
867  has  concentric  circles,  and  characteristic  binding  pattern: 
the  presence  of  white  details  connects  it  (like  853)  with  Fabric 
(d)  below.     Ds.  \o\  in. —  3-0-  in. 


Wall 
(^ase 

23 

Below 


869.  Plath,  elaboraleI\'  decorated  with  maltese  cross,  basketrx' 
ornaments,  and  concentric  circles.  It  is  probabl)'  of  early 
date;  for  on  the  back  are  painted  birds  and  trees  in  a  childish 
st\le  like  that  of  the  earl\-  tlask  544,  in  Wall-Case  15,  and  of 
the  plain-bodied  jugs,  721-740,  in  Wall-Cases  21-2.  It  prob- 
abl\-  belongs  to  the  eighth  or  sexenth  centur)'.  D.  i  \\  in. 

108 


HELLENIC    AGE.     FABRIC    XVII 

870-876.     MiNiATLRE    Plates    and    Bowls,    some    of   peculiarly    Wall 

delicate  fabric.  Ds.  6  in. —  3!  in.  Case 

26 
877-878.     Miniature   \'ases,    accidentalh'   discoloured   by  firing,    P>elo\v 

and  superficial!)'  resembling  the  dark-coloured  Fabric  f  (908-9). 

Hs.  3.1  in.,  2I  in. 

(d)       TRICOLOUR     FABRIC,     WITH     K  iT)     SLIP,     BLACK     PAINT 
AND    details    IN    WHITI:.       879-903 

Numerous  imitations  of  the  standard  Red  Ware  are  found  in  most 
parts  of  Cxprus.  This  "Tricolour  Fabric"  is  b\-  far  the  commonest 
and  is  the  onl\'  one  in  which  vases  of  useful  dimensions  (such  as 
801  in  Wall-Case  24  and  924-928  in  Floor-Case  VII)  predominate 
o\cr  miniatures.  The  ornament  is  still  essentially  in  black  paint, 
but  a  chalky  lustreless  white  is  used  also  either  for  independent 
designs,  or  more  commonlx'  in  dots  and  other  details  added  on  the 
black  bands  (885,  886,  887,  891).  In  the  same  wa\',  dots  or  borders 
in  black  arc  used  to  enrich  the  bands  of  white  on  890  and  853  abo\x'. 
The  forms  are  numerous,  and  fairlx'  well  marked. 

879.     Im.at-ri.mmed  Jug,  with  tall  bod\'  and  moulded  neck.         H.    \\'aii 
l()},  in.  Cases 

880-883.     OiNOCHOAi  with  the  usual  \ertical  and  horizontal  circles.    .Middle 
(x)mpare  928  in  Floor-Case  \'ll.  Ids.  13^  in. —  9J  in.  ~' 

884.  OiNCJCHOE  with  \ertical  and  horizontal  circles.  In  front  is 
a  charging  bull  painted  in  white,  w  ith  black  outlines.   H.  i  i  i  in. 

885-888.  OiNOCHOAi  of  \'arious  long-bodied  forms.  I  he  bod\'  of 
887  is  contracted  into  a  number  of  horizontal  lobes.  lis. 

6|  in.— 31,';  in.  II,  995  (<'^8{)). 

889.  Di-.i-.p  Bowl  on  high  foot.  M.  3:^  in. 

890.  Bowl-(>)\tj<  of  beehi\e  form,  with  handle  formed  b\'  a 
small  dee[-)  bowl  set  on  its  summit.  1).  7s  in. 

89i-S9,S.  A.MPHOKAi  and  Kkaii-.ks.  S()2  is  a  miniature  wine- 
amphora  of  the  conical  form,  swollen  ai  the  shoulder.  lis. 
()l  in.  —  3-2  in. 

S()()-()()2.  Rino-Vasf;S,  cousistiiig  of  an  annular  bod\'  which  is 
sonu'times  hollow  as  in  S()()-()o2,  but  in  olher  cases  has  been 
rethked  to  a  mere  flat  riii,u,  or  si  an(h'ng-base.  The  miniature 
N'ast's  which  stand  ujion  the  ring  are  of  liilferent  sha[ies,  all 
familiar   from   full-si/ed   examples.       The  majorit\'  are   in    Rvd 

lO() 


W.ill 
Case 

2() 


IIIH    COl.lJU;!  ION    OF    POiri-RY 

Ware,    but   Hcyy  shows   two   \ascs  of  While   Ware  associated 

with  three  reJ  ones,  and  also  a  small  luinian  (i,!4ure  pla\ing  the 

Bot-  l\re.      (Compare   the    King-\'ases  of  White   Ware,    521-523    in 

'"'"  Wall-Case   14,  where  the  purpose  of  these  \ases  is  discussed. 

l)s.     7]  in. —  ();^  in. 

903.  BiRD-snAiM-n  \'.\si-,  with  pinched  lip  and  man\'  white  details. 
Compare  the  While  Ware  bird-\ase  554  in  Case  15.      H.  4'1  in. 

(2om]iare  also  the  local  fabric  of  Tricolour  Ware  which  is  common 
at  Amalhus  in  the  liflh  and  earl\-  fourth  centur\':  its  amphorai 
Q25.  ()5  3-7  are  of  rather  large  size,  and  are  placed  for  con\enience 
in  Floor-Case  \dll  and  in  the  upper  part  of  Wall-Cases  27-28. 

fe)       OTHbK    l-OCAL    IMIIATIONS 

^^all    Less  common  than  the   Tricolour  Ware  are  the  other  local  fabrics 
^^^^    now  to  be  described.       The  forms  and  ornaments  are  essentially 
Below    the  same  as  those  of  the  preceding  fabrics. 

904-7.  \'asi-.s  of  Ri;D-Slip  T'abric.  This  is  the  commonest  of 
these  local  imitations.  It  has  a  comparati\el\'  coarse  brick- 
red  c!a\',  concealed  b\'  a  finer  slip.  Compare  816-817,  ^''"-'  the 
large  amphorai,  920-928,   in   Tloor-(]ase  \'II.  Hs.    5   in. — 

3  Ml  in. 

908-9.  \'asi:S  oi-  1)lll-Siji>  Tabric.  These  small  jugs  have 
characteristic  forms  and  dull  brown  slip;  thev  seem  to  belong 
to  the  fifth  or  fourth  centur\-:  similar  small  x'ases  were  among 
the  commonest  ofl'erings  at  the  great  altar  of  .Aphrodite  at 
Idalion.         Hs.  3  A.  in..  4J  in. 

910-912.  \'ases  of  Buif-Slip  T'abric.  The  characteristic  bufT 
slip  is  smooth  and  gloss\-  and  the  paint  is  dull  brown.  The 
best-known  examples,  which  were  all  found  in  tombs  at  .Marion, 
are  decorated  with  (jreek  palmette,  lotos,  and  egg-and-dart 
ornaments,  and  are,  apparent  1\',  of  the  fourth  centur}'.  Hs. 

4I  in.,  5  i',j  in.,  4.I  in. 

Wall  913-6.  X'asf'-  of  Dhfp  RfdSlip  o\  Licht  Clay.  In  this  group 
the  cla\'  is  cjuite  light-coloured,  but  it  is  wholl\-  concealed  b\ 
a  deep  crimson-red  slip.  'Tv-pical  forms  are  the  miniature 
oinochoai  913-915,  and  wine-jar  916.  The  co\ered  k\lix 
863,  the  plate  H67,  and  the  bowl  868,  in  Wall-Case  25,  are 
similar  work.  Occasional  touches  of  white  paint  867,  913, 
110 


Case 

2- 


HELLENIC    AGE.       FABRU:    XVII 

914,  mark  the  affinity  of  this  variety  to  Fabric  d  above.         Hs. 
6h  in. —  4-1V  in. 

917.  MiNiATURii  Jug  of  pale  c\a.y  wholly  covered  with  a  dark  slip"),    Wall 

on  which  are  traces  of  bands  and  concentric  circles  in  dull      ^^'^ 

.    .  .  25 

white  paint.     Similar  vases  have  been   found   in    Earl\'    Iron    Bottom 

Age  tombs  at  Amathus,  together  with  miniature  \ases  of  the 

Standard  Red  Ware.         H.  3}  in. 

918.  Miniature  Jug  of  characteristic  Red  Ware  form,  executed 
in  quite  black  clay  like  498  in  Wall-Case  13:  highl)-  polished 
but  without  ornament.     H.  25  in. 

919  Miniature  Oinochoe,  elegantly  modelled  in  a  fine  salmon- 
coloured  claw  slightlv  glossw  The  rings  modelled  on  the  neck 
suggest  a  metal  protot\pe.  The  date  is  quite  uncertain. 
H.  3^  in. 

In  Floor-Case  \'ll  are  shown  a  few  unusual!)'  large  \ases  of  various  Floor 
fabrics  of  the  same  Painted  Red  Wares  as  have  been  described  ^{■■^^^ 
alread>'  in  Wall-Cases  24,  25,  26. 

920-921.  Amphorai,  with  plain  unpainted  surface;  they  belong 
to  the  class  described  as  Red  Bucchero  Ware,  471-8  in  Wall- 
Case  13.  Their  multiple  handles,  with  lateral  spurs  on  the 
surface  of  the  vase,  are  suggestive  of  a  metallic  model,  and 
of  earl\'  date.         Hs.  i  ft.  2|  in.,  i  ft.  6^  in.  11,  902-904. 

922-4.  Krater  (922)  and  Amphorai  (923-4)  with  o\-oid  b()d\',  c\l- 
indrical  neck,  and  horizontal  (923-4)  or  vertical  (922)  handles. 
These  are  the  exact  counterpart  of  the  geonielricalI\-  painted 
White  Ware  in  Floor-Cases  IV  and  \'.  The  neck  and  shoulder 
of  922  have  elaborate  central  panels,  bounded  by  groups  of  ver- 
tical lines,  and  filled  with  the  customarx'  latticed  lo/.enges,  tri- 
angles, and  other  geometrical  motives:  it  has  the  same  multi(ile 
handles  as  920,  921.  On  the  shoulder-zone  of  ()2^  is  a  scheme 
of  concentric  circles,  interrupted  bv  groups  of  conventional 
trees;  on  the  neck  a  row  of  concentric  circles  jxiinted  in  black 
on  a  band  of  white,  which  brings  this  \ase  inl(j  the  same 
tricolour  class  as  879-905  in  Wall-(-ase  2().  On  the  neck  of 
924  are  black  concentric  circles  on  while  ground.  Hs. 

\\l  in.,     \tI  in..  22  in.  11,  ()o()  (()24). 

925.  A.Mi'iioKA,  of  a  local  fabric  of  tricolour  ware,  common  at 
Amathus  in  the  fifth  and  early  lourlli  century:  compare  <)5  5-7 

1 1 1 


THi;    COLLI-CIION    OF    POTTERY 

floor  in    Wall-C.asos   ij-iH.      It    has   con\entional    trees   painted   in 

Yl'j  white  on  the  red  ground  of  the  bod\-zone.     Above  this  comes 

a  white  zone  with  the  traditional  wa\ y  line  in  black.  Above 
this,  broad  and  narrow  bands  in  black  and  red,  then  dots 
on  white,  then  again  white  dots  on  black,  and  on  the  neck 
and  rim  black  lines  and  zigzag  binding  on  a  white  ground. 
H.  i3.\  in. 

926.  Amphora  of  I'abric  d  like  ^^79-903  above;  with  red  slip")  and 
elaborate  schemes  of  concentric  circles.  H.  i^f  in.    11,  903. 

927.  Dtiii'  Bowl  of  b'abric  d  with  red  slip  and  concentric  circles. 
i).  9^  in. 

928.  OiNocHoii  of  the  sixth  or  fifth  century,  with  vertical-circle 
ornament  like  that  of  the  White  Ware  oinochoai  703-20,  en- 
riched with  groups  of  concentric  circles.         H.  i^l  in. 

POTTERY  OF  THE  HELLENIC  AGE 

VARIOUS    FABRICS    AND    PERIODS 

In  the  Hellenic  Age,  the  native  C\pri(jte  st\ies  of  potter\-  all  de- 
Cases  ge'nerate  rapidl}',  and  disappear.  Earlier  stages  of  this  degenera- 
27,28  tion  ha\e  alread}'  been  traced  in  dealing  with  the  oinochoai  of 
White  Ware,  Group  i  (703-20),  and  the  wine-jars  and  amphorai 
of  White  Ware,  Group  m  (776-800);  compare  the  amphorai  of 
Red  Ware,  953-7.  The  pre\alence  of  vases  with  spouts  in  later 
periods  —  though  the  l\pe  itself  begins  earl\-  —  has  alread\'  been 
noted  on  7()2  fT.  in  Wall-Case  23;  and  it  remains  to  illustrate  a 
peculiar  and  \er\'  decorati\e  \ariet\'  of  these,  which  remained  popu- 
lar locall\'  almost  into  Roman  times. 

VASES    WITH    MODELLED    SPOUTS     REPRESENTING    WOMEN 
WITH    PITCHERS,    OR    BULLS,    929-95^ 

This  peculiar  group  of  \ases  occurs  fairl\'  commonly  at  Kurion  on 
the  west  coast,  and  at  .Marion  in  the  northwest  of  the  island,  but 
onl\'  rarel\'  in  other  parts  of  C\prus.  It  ranges  in  date  from  the 
sixth  ci-nturv  to  Roman  times;  indixidual  examples  can  usuall}' 
be  dated  approximateh'  b\'  means  of  their  detail  and  ornaments. 
The  idea  originates  from  the  grotesque  human  look  of  those  earl\- 
vases,  like  793  abo\e,  which  have  a  spout  in  front,  and  a  woman's 
head  on  the  neck. 


HELLENIC    AGE. 


VARIOUS    FABRICS 


929.     Spout  Vash  with  plain  lip  and  simple  spout.     Here  there  is  ^Y^^" 
as  yet  no  attempt  to  emphasize  the  human  likeness.     H.  7^  in.  ^i,  ^g 

930-5.     Spout  Vases  with   .Modelled  Head.     In  two  examples, 
930-931,  of  the  tricolour  fabric  of  Red  Ware  like  879-903,  a 
woman's    head,    with    the   hair   and   jewelry    represented    by 
separate  pellets  of  clay,  blocks  the  apparent  neck  of  the  vase, 
and  the  real  opening,  through  which  the  vase  is  filled,  is  inside 
the  foot,  which  communicates  with  a  long  tube  running  up  the 
middle  of  the  inside  of  the  vessel  after  the  manner  of  the  neck 
of  a  modern  safety  ink-pot.     These  trick  vases  are  not  common, 
but  are  noted  here  as  examples  in  which  the  woman's  figure, 
originall\-  suggested  by  the  contours  of  the  vase  itself,   has 
become  a  merely  ornamental  appendage.     Both  these  examples 
are  certainly  as  early  as  the  sixth  century,  and  931   may  go 
back  to  the  seventh.     The  fine  heads  2138-9  in  the  Terracotta 
Collection    are    probably    fragments    of   vases    of    this   class. 
The  ornament  of  930  consists  of  concentric  circles  only;  but 
931  has   also  trees  on  the  shoulder, 
eyes  and  horns  added  to  the  spout, 
and    many   details    in    white    paint. 
Hs.   io|    in.,  9^   in.         Cyprus,    PI. 
xlii  (930),  p.  402  (931):     Perrot,  fig. 
504   (930).  II,  907  (93')- 

932-933,  miniature  examples  of 
woman-headed  vases,  are  also  of 
earlv  date;  in  these  the  head  serves 
as  the  spout  of  the  vase.  Hs.  34 
in.,  3f  in. 

934-5  ha\e  the  body  of  the  vase  painted 
as  a  face  with  e\'es,  and  the  spcjut 
represents  the  nose  or  mouth:  this 
type,  like  its  White  Ware  counter- 
part 794,  is  common  at  Amathus  in 
tombs  of  the  fourth  century  and 
perhaps  later  still.         Hs.():jin.,  5  in. 

9^C)-4^.      " Woman-and-Pitchiir"   Vasi-.s. 

stage  of  development,  which  belongs  to  the  later  sixth  or  early 
fifth  century.  Here  the  bocK'  and  neck  are  those  of  an  ordinary 
jug  of  high  narrow  form,  with  a  wide  fool.  On  the  front  of 
the  shf)ulder  of  the  vase  sits  a  small   female  figure,  which  is 


931 


show   a    further 


113 


Wall 

Cases 
27,  28 


THE    COLLECTION    OF    POTTERY 

mociellcd  at  first  in  tlic  archaic  "snow-man"  style,  but  later  is 
pressed  wholly  or  in  part  in  a  mould.  i"or  the  processes  of 
modelling  and  moulding,  see  the  Introduction  to  the  Collection 
of  Terracottas,  p.  ?2i.  1  he  right  hand  of  the  figure  holds 
an  oinochoe,  the  base  of  which  rests  on  the  shoulder  of  the 
main  vase,  and  is  perforated  below  so  as  to  form  its  spout.  The 
general  ell'ect  is  that  the  woman,  seated  at  the  spout,  presides 
over  the  business  of  pouring.  This  type  has  a  long  history,  and 
passes  through  se\eral  distinct  phases. 


936 


937 


936,  the  earliest  example  in  the  Collectioi;,  is  in  a  tine  variet^• 
of  Red  Ware.  The  female  figure  is  modelled  in  the  round  in  an 
archaic  st\le,  which,  howe\er,  shows  distinct  Cjreek  influence. 
Ihe  decoration  is  in  black,  enhanced  by  a  few  lines  of  white. 
On  one  side  of  the  shoulder  is  a  figure  of  a  bull  painted  in  black, 
with  the  e\es,  mane,  and  folds  of  the  skin  rendered  by  incised 
lines,  precisel\-  in  the  st\ie  of  the  "black-figured"  \'ases  of 
Greece  in  the  sixth  and  earl\-  fifth  centuries,  and  of  the  local 
fabric  of  .Amathus  described  under  7<S4.  (3n  the  other  side  is 
a  lion,  ad\ancing  to  attack  the  bull.  It  is  painted  in  white, 
with  the  e\'es  in  black,  and  there  are  traces  of  incised  lines 
like  those  on  the  bull,  to  indicate  the  mane  and  principal 
muscles.         H.  13.^  in.  II,  986. 

114 


HELLENIC    AGE.       VARIOUS    FABRICS 

937  belongs  also  lo  the  late  sixth  or  early  fifth  century.  The 
female  figure  is  less  carefully  modelled;  the  face,  however,  has 
perhaps  been  originally  pressed  in  a  mould.  The  ornaments 
on  the  neck  and  shoulder  of  the  vase  are  in  black  and  white, 
and  include  stiff  representations  of  flowering  plants.  This 
kind  of  ornament  is  common  on  vases  of  this  style  from  tombs 
at  -Marion.         H.  lo  in. 

938  shows  the  woman-and-pitcher  vase  executed  in  the  ordinary 
White  Painted  Ware.  From  the  general  character  of  the 
decoration,  which  consists  of  a  floral  wreath  around  the  neck 


Wall 
Cases 

27,  2<S 


940  941  943 

and  roughly  painted  lotos  flowers  and  buds  on  the  shoulder, 
it  appears  to  belong  to  the  fifth  or  earl\'  fourth  centurx'  B.  C, 
and  very  probably  to  a  local  fabric  either  of  Amathus  or  of 
Kurion.  The  woman's  figure  is  entirely  modelled,  without 
trace  of  moulding,  and  is  roughl\-  painted  in  black  and  dull  red, 
like  the  rest  of  the  vase.  H.  9^   in.  II,  988. 

939  is  of  rather  later  date.  The  female  figure,  which  wears 
heavy  necklaces  and  folded  draper\',  has  been  carefullv  pressed 
in  a  mould,  but  has  been  remodelled  b\-  hand  lo  adjust  it  to 
its  place  on  the  \'ase,  antl  to  attach  the  oinochoe  to  it.  The 
ornament  on  the  shoulder  is  a  bold  \\v  sprav  in  black  paint, 
on  a  red-ware  ground,  \er\'  much  in  thi'  sl\le  of  provincial 
fabrics  of  (jreek  vase-painling  of  the  lale  fifth  antl  early  fourth 
centuries.  11.  8',  in. 


THE    COLLECTION    OF    POTTERY 
^^;ill  040  shows  a  further  advance.     The  woman's  head  is  moulded 

,"  2S  '"^  '^  later  Greek  st\le,  not  earlier  than  the  fourth  century, 

and  her  face  and  dress  are  also  white.  On  the  dress  are 
crosses  and  borders  in  red  and  also  in  \ellow.  The  ivy  on  the 
shoulder,  flowers  on  the  neck,  and  olive  spra\'  lower  down,  arc 
also  in  white.      H.  is  in.  11,  9H5. 

941  has  even  more  elaborate  polychrome  ornamentation. 
The  \'ase  is  of  red  claw  but  its  surface  is  covered  wholly  with 
black  slip.  On  this  are  painted  bands  of  white  and  red,  with 
an  iv\-  wreath  on  the  shoulder,  an  olive  wreath  below,  and  a 
four-petalled  flower  on  the  neck,  all  enriched  by  details  in 
yellow.  The  woman's  figure  is  verv  carefull\'  modelled,  but 
onlv  the  face  has  been  moulded.  She  wears  a  high  crown, 
and  is  elaboratel}'  painted;  the  face,  hands,  and  dress  are  in 
red,  with  man\-  details  in  black,  white,  and  vellow.  This 
polxchrome  work  can  hardly  be  earlier  than  the  fourth  cen- 
tur\-,  and  may  be  later.         H.  15I  in.         Pcrrot,  fig.  506. 

942  shows  the  complete  transformation  of  the  female  figure 
into  an  ordinar\'  fully  moulded  statuette  of  Hellenistic  st\ie. 
It  cannot  be  earlier  than  the  third  century.  The  woman  wears 
ample  drapery,  with  a  long  fold  over  the  hair,  like  a  hood.  The 
left  arm  rests  on  the  hip  and  holds  a  fold  of  the  dress.  The 
whole  figure  has  been  pressed  in  a  mould,  except  the  right  arm, 
which  the  potter  has  added  b\-  hand-modelling  in  the  old- 
fashioned  wa\'  in  order  to  connect  the  figure  with  its  oinochoe. 
The  whole  vessel  is  executed  in  a  bright  red  clay  which  ma\' 
have  had  a  pol\'chrome  decoration  on  its  surface;  it  is  now, 
however,  almost  completel\'  washed  clean.  This  fate  fre- 
quentl\-  befalls  these  late  vases,  because  the  dense  surface- 
la\er  on  which  the  painting  is  executed  is  loose,  chalk\',  and 
friable,  and  the  painting  itself  is  more  like  fresco  than 
ordinary  potter's  work.  This  is  well  shown  in  the  next 
example.  H.  14  in. 

943  is  pr(jbabl\'  of  the  first  or  second  centur\'  A.  D.  The 
woman's  figure  has  disappeared  altogether,  and  the  jug-spout 
is  left  to  explain  itself.  The  cla\'  of  this  \ase  is  bright  red, 
but  it  was  wholl}'  covered  with  a  dense  white  slip,  on  which 
festoons  of  flowers  and  bands  of  radial  lines  are  painted  in  a 
poixchnjme  st\ie  like  that  of  the  wall-painting  of  the  period. 
H.  9.1  in.  11,  99(). 

116 


HELLENIC    AGE.       VARIOUS    FABRICS 


944-50.  V.'\SES  WITH  An'im.-xl-headed  Spouts,  forming  a  parallel 
series  with  those  with  "Woman  and  Pitcher."  The  Red  Ware 
example  944  is  of  the  later  sixth  centur\-.  The  spout  is  replaced 
bv  a  horse's  head,  with  e\-es  and  mane  painted  in  black; 
but  the  head  is  not  perforated,  and  is  merel\-  decorative. 
945-9  have  a  bull's  head  in  place  of  a  horse.  These,  too,  are 
all  unperforated:  945  is  probablv  of  fifth  or  fourth  century 
date;  946,  with  white  lines  on  the  shoulder,  is  probably  rather 
later;  947,  with  painting  in  purple  and  orange  on  faded  white 
ground,  seems  to  be  Hellenistic  or  Graeco-Roman;  and  948, 

949,  are  certainK'  not  earlier  than  the  Graeco-Roman  period. 

950,  a  plain  jug  in  the  tricolour  fabric  of  Red  Ware,  with  concen- 
tric circles,  is  of  the  same  type,  but  has  no  bull's  head. 

H.  12^  in. —  4I  in.  II,  980  (944). 


Wall 
Cases 
27,  28 


m  ^^  * 


*vWlAM/V^ 


931 


952 


951-2.  \'as[:s  with  Polychro.mh  Orna.mf.nt,  belonging  to  the 
same  late  stages  as  the  preceding.  The  jug  952  is  in  a  yellow- 
ish cla\-,  with  wreaths,  palmettes,  lotos  flowers,  and  other 
customar\-  ornaments,  left  white  on  a  red  ground.  There  are 
traces  also  of  black  paint  for  the  internal  details.  The  other, 
()5i,  is  in  a  reddish  cla\',  with  bands  of  ornaments,  and  deep 
blue  on  the  neck  and  foot.  Both  these  vases  seem  to  belong 
to  a  local  fabric  of  late  Hellenistic  or  Graeco-Roman  date, 
which  is  well  represented  bv  \-ases  from  K'urion  in  the  British 
.Museum.  Hs.  ()'!  in..  ()i|  in.  1 1,  9C)4,  993  ('95 1 ,  ()52) 

953-7.  .Ami'Hok  \i  oi-  iKK.oiorR  Rr.n  Waki-,,  refiresenting  a  local 
fabric  common  ;it  Amathiis  in  the  fifth  and  earlv  fourth  cen- 
tur\-.  d'hough  placed  here  lor  conx'enience,  thev  belong  to 
the  same  fabric  as  ()2  5  in  lloor-C^ase  \'I1I,  and  should  be  corn- 


Wall 
(2ases 
27,28 
above 


28 

Below 


IHI-:    COLl.la.l  ION    OF    POriHRV 

,-    ■'  pared  also  with  ihe  other  "trieolour"  tahrles  S7()-()o 5  in  Wall- 

Cases  '  ...  .  ... 

27,28  Clase  2().     The  light-eoloured  ela\'  is  eoxered  with  a  slip  either 

red,  c)S4.  ()St,  QSJ,  or  black,  933.      The  neck  is  alwaxs  decorated 

as  if  it  were  of  White  Ware,  with  a  white  slip  and  black  lines. 

On    the   bod\'   is   a   bnnid   zone  filled   with   white  ornaments, 

either  lattices,  c)S3,  ()St,  057,  or  wa\'\'  lines,  9,4,  or  trees  in 

panels.  osO.  like  the  trees  on  the  amphora  of  white  ware,  777, 

which  is  also  of  a  fabric  peculiar  to  .\mathus.  Hs.   13s  in. 

—  loj  in.         C^\prus,  p.  405  (95O). 

Wall    9v''-<><>.     P.MNTHD  Jlgs  of  characteristic  Graeco-Roman  form  and 
Case  fabric,   with   flat    angular   bodies,    long   cylindrical    neck,    and 

strap  handle.  I  he  cla\'  is  fine,  hard,  and  light-cohjured,  with 
decoration  in  brown  glaze  paint.  Such  \ases  are  ver\'  common 
in  Hgxpt,  and  in  all  parts  of  the  Eastern  Mediterranean. 
'I'hex'  were  probablx'  made  at  more  than  one  centre.  On  the 
shoulder  of  938  is  a  laurel-wreath  and  the  personal  name 
Kitias  in  Greek.  Cxprus,  p.  40.  On  959  is  a  similar  wreath 
and  the  name  Eros;  on  9O0  no  inscription,  but  a  wreath  of 
laurel  and  \\y.  Other  vases  of  this  class  have  representations 
of  tish  and  birds.      Hs.  8|  in.,  74  in.,  9]  in. 

II,  1067,  looi    (958,960). 

V.ASES    OF    LNP.AINTED    CL.AY 

\'ARIOLS    PERIODS    .-WD    STALES 

>^y^ll  L'npainted  \'ases  in  the  same  fabric  of  White  Ware  as  501-800,  are 
Case  occasionalh'  found  in  tombs,  and  rather  more  commonl\'  on  in- 
"^  habited  sites  and  in  sanctuaries.  .Most  of  the  unpainted  forms  are 
the  same  as  the  painted;  a  few,  howex'er,  are  onlv  found  unpainted, 
and  represent  the  common  wares  of  e\er\da_\'  use.  Both  classes 
become  commoner  in  the  fifth  and  fourth  centuries,  while  the  custom 
of  painting  was  d\ing  out.  Both  then  and  earlier,  their  chroncjlogx' 
is  obscure,  since  the\'  attract  little  notice  frc^m  collectors,  and  are 
frequenll\-  o\erlot.)ked  in  e.\ca\ation.  "Fombs  recentl\'  excaxated 
at  Phxlliri  contained  little  else  but  L'npainted  White  Ware  like 
90()-979  and  belong  to  the  fourth  century.  Their  contents  are  in 
the  Cxprus   .Museum. 

9O1.  BoTTLh-Jt  (,  of  long  narrow  form  with  short  neck,  common  in 
tombs  of  the  si.xth  and  tifth  centuries,  and  probablx'  made  for 
table-serx  ice.  H.  c)!  ,';  in. 

118 


HELLENIC    AGE.       VASES    OF    LNPAINTED    CLAY 

962.  Handle-Ridge  Jug  with  contracted  rim  and  globular  body, 
following  a  seventh  century  form.  H.  81,'i  in. 

963.  Pilgrim  Bottle  of  uncertain  date,  with  angular  body  and 
short  wide  neck.         H.  10  in. 

964.  A.MPHORA  of  uncertain  date;  the  knobs  on  the  neck  seem  to 
imitate  metal  rivets.  H.  82  in. 

965.  HvDRiA  probably  of  the  fourth  centur\';  the  bod\'  and  neck 
have  much  the  same  form  as  in  the  later  woman-and-pitcher 
vases,  941  ff.  in  Wall-Case  28.         H.  gh  in. 

966-7.  OiNOCHOAi  of  characteristic  fifth  centurx'  forms,  alread)'  a 
little  influenced  b\'  Hellenic  models.  Hs.  10  in.,  -j {',;  in. 

968.  A.MPHORA  with  narrow  neck  and  horizontal  handles,  influenced 
b>'  a  Hellenic  model,  and  probably  not  earlier  than  the  fourth 
centurw  H.  6i'\  in. 

969.  .AsKos,  almost  wholly  copied  from  a  Hellenic  model  of  the 
fourth  centur\'.         H.  61 1";  in. 

970-2.  OiNOCHOAi  (970,  972),  and  Hydria  (971)  of  Hellenic  forms, 
not  earlier  than  the  fourth  centurw  The  shape  of  972  is  found 
in  a  local  fabric  of  painted  ware,  at  Alarion-Arsinoe.  Hs.  6§ 
in.,  9-2  in.,  10]   in. 

973-9.  .Miniature  Vases  of  various  forms.  The  askos  976  is  a 
Hellenic  form  of  the  fourth  centur}'.  Hs.  4!,;  in. —  }l  in. 

980.  Jug  of  unusual  fabric  with  incised  crescent-ornament  on  the 
shoulder.  The  date  is  quite  uncertain;  not  earlier  than  Ro- 
man, and  perhaps  mediae\'al  or  modern.  .-\t  the  modern 
potteries  oi  I-amagusta  many  Hellenistic  forms  are  still  repro- 
duced. H.  8J  in. 

G  R  A  ECO-  ROM  A  N    I-  A  im  I CS 

After  a  long  period  of  po\ertv,  during  the  Ptolemaic  period,  the 
(iraeco-Roman  tombs  c(jntain  once  more  a  fair  number  of  vases; 
though  clav  is  no  longer  so  [lojuilar  as  glass  at  this  time.  The 
cfjmmonest  fabric  is  the  red-glazed  "terra  sigillata"  which  per\ades 
all  pr(ninces  of  the  Roman  bjiipire,  and  seems  to  ha\e  been  made 
at  nianv  centres.  It  is  not  known  whether  there  was  a  laclor\-  of 
this  ware  in  (^vprus. 

(J81-7.  Rid  (jla/t  I)  Vases  of  vari(»us  forms;  the  jugs  ()8i-2  are 
common    in   the  second   and   third   centuries  A.    1).;   the   bowl 

119 


Wail 
Case 
76 


Wall 

Case 

7() 


THF.  coi.LiicrioN  t)i-   i'(yrri:RY 

qS^  shows  llu'  original  of  a  \\'r\'  common  glass-form;  theptointed 
amphora  1)84  is  a  miniature  of  the  conlemporarx'  wine  jars; 
the  jug()S5  anei  the  bowl  ()<S()  ha\e  the  usual  poor  reliefs  stamped 
with  a  mould;  the  spoul-jug  gH~  adapts  a  well-known  Cxpriole 
t\pe  to  a  new  st\le  of  workmanship.  Us.  lOi'',;  in. —  2^  in. 

C\prus,  p.  2^)  (()<S()).  II,  997,  ()79,  998  (9''^4'  ')'^^'.  Q'"^?)- 

9(SS-9.  CiRt-:i:N  (ii  A/ht)  Bowls,  of  a  cla\-  like  that  of  the  "terra 
sigillata,"  with  tloral  spra\s  in  relief,  pressed  in  a  mould  and 
L()\ered  with  a  salt-glaze.  The)'  are  probablx'  Graeco-Roman, 
but  their  limits  of  date  are  not  known  exactl\'.  Hs.  2\i\  in. 

—  2^  in. 

990.  Bi.ACK  Slip  Bowl  in  red  clay,  pressed  in  a  mould,  showing 
triangle  ornament  in  relief.  H.  2  1 ,;  in. 

991.  C.vv  of  light  red  cla\',  with  floral  decorations  in  relief. 
H.  2  ,v,  in. 

992.  AliNiATLRF.  Spolt-Jlg  OR  I.AM p-FiLLHR,  modelled  in  light 
red  clav  to  imitate  a  gourd  enclosed  in  a  meshwork  of  cords. 
H.  2I  in. 

993.  Jug  of  red  clay  with  white  painted  ornament.         11.  9^  in. 

994.  Spi\dll-shapi-.d  \'asi:  of  the  form  popularh'  known  as  a 
"tear-bottle,"  in  gre\'  cla\'  with  dark  red  painted  ornament. 
This  form  is  apparentlx' of  S\rian  origin,  but  became  popular  all 
o\er  the  Graeco-Roman  world  in  the  second  and  third  centuries 
A.  D.         H.  (),',; .in. 

995.  AliNiAiiRt-;  Jlg  of  a  characteristic  late  form,  often  found  in 
tombs  which  contain  much  glass.  H.  4'^  in. 

996-7.  Chili:)'s  Rattlhs  in  the  shape  of  a  pig  (9()6)  or  a  swan 
(()()7),  wheelmade  with  a  pebble  sealed  up  within.  L.  4  1  ,■ 

in.,      H.  4  I  ;,  in.         (>\prus,  PI.  \iii. 

998.  Rh-^ton  in  the  shape  of  an  animal's  head,  in  coarse  late  work. 
H.  4^  in.  II,  814. 

999-1000.  .Amphorai  with  narrow  neck  and  \er\'  small  handles 
on  the  shoulder,  common  in  the  tombs  which  ha\e  much 
glass:  compare  the  late  alabaster  \ases  of  similar  form.  i()tO-2 
in  Wall  (]ase  74.  Hs.  4^  in.,  (rl  in. 

With  these  late  fabrics  compare  958-960  in  Wall  Case  28. 


120 


THE  COLLECTION  OF 
SCULPTURE 


THE    COLLECTION    OE   SCULPTURE 

I.       1HH   PURPOSE  AND  USE  OF  SCULPTURED  FIGURES 
IN      CYPRUS 

THE  surprising  number  and  variety  of  this  collection  of 
sculpture  fof  which  onl\'  about  one  third  is  exhibited,  or 
described  here)  raise  at  once  the  question  —  "  1-or  what 
object  were  so  many  statues  produced  in  ancient  C]\prus; 
antl  wh\-  these  particular  kinds  of  figures?"  For  it  needs  but 
little  stud\-  of  the  collection  to  see  that  among  so  man\'  examples 
the  appearance  of  variet\-  is  superficial;  that  the  great  majoritv  of 
the  statues  repeat  well-marked  tx'pes  and  poses;  and  that  some 
of  these  t\pes  persist  through  man\' successi\e  stxles  of  execution. 
Whereas  almost  all  the  potterv  found  in  C^\prus  is  the  furniture 
of  ancient  tombs,  most  of  the  sculpture  comes  from  sanctuaries, 
and  there  seems  to  be  no  doubt  that  b\  far  the  greater  number  of 
the  statues  assembled  here  were  found  (jn  the  site  of  one  single 
sanctuarx',  at  a  jilace  called  Ciorgi,  near  the  modern  \illage  of 
Athienu,  about  half-wa\'  between  the  sea  at  Larnaca  and  the 
modern  cajiital  Nicosia.  I  his  place  had  been  alread\'  supposed 
b\-  the  I'rench  antic|uar\',  de  \'ogue,  to  be  the  site  of  the  ancient 
("lofgoi,  and  the  higher  ground  had  been  parllv  excaxated  b\'  him: 
he  nuNSetl,  howe\er,  ihe  sancluar\'  ami  its  wealth  of  sculpture. 
A  smaller  series,  inclutiing  most,  if  nol  all,  of  the  "  rem[ile-bo\  s," 
1204-J2,  was  obtained  from  a  sanctiiar\'  dedicated  to  Apollo  of 
tln'  Woodland  (Hylnlcs)  near  Kurion  on  the  southwest  coast;  and 
single  pieces  from  other  hol\'  (ihices,  and  from  tombs. 

Ihe  site  at  (iolgoi,  as  it  appears  now,  nearU'  fort}'  wars  after 
excavation,  shows  lit  tleof  the  extent  and  character  of  the  sanctuary ; 
hut  the  exca\at(jr's  description  of  ii  is  confirmed,   in  essentials,  by 

123 


Mil-;    COLLECTION    OL    SCI  LI'LLKH 

the  ground   plan  of  riLh   shrines,   cxcaxalcci   b\-  other  hands,  at 
IdaHon,  and  at  X'oni,  north  of  Nicosia. 

C  'I  r  R  I  (  n  1-    S  A  N CT f  ARIES 

The  hol\-  places  of  C,\prus  were  as  a  rule  enclosed  b\'  a  wall  and 
entered  bv  a  gatewax',  which  at  Paphos  had  some  architectural 
pretensions.  .Most  of  these  enclosures  contained  no  temple,  and 
ma\'  ha\e  been  open  to  the  sk\',  but  the\'  ma\'  also  have  contained 
structures  of  mud  brick.  .-Xt  Paphos,  an  open  court\ard  was  sur- 
rounded in  Roman  times  b\'  roofed  colonnades,  which  offered  some 
shelter  to  w  orshippers,  but  the\-  are  of  various  periods,  all  later  than 
the  fourth  centurx',  and  give  no  clue  to  the  original  arrangement. 
.■\t  Golgoi,  and  also  at  \'oni,  the  good  preservation  of  the  shoulders 
and  other  upward  surfaces  of  the  statues,  even  the  earliest,  suggests 
that  b\-  some  means  the\-  were  protected  from  the  weather;  and 
at  Golgoi  the  exca\ator  describes  rows  of  rough  stone  bases,  which 
ma\'  have  supported  wooden  columns  and  a  timber  roof,  o\er 
part  at  least  of  the  area.  At  Paphos  alone  ha\  e  we  record  of  anv 
material  object  of  veneration;  a  roughl\'  conical  haetyl  or  sacred 
stone,  which  was  regarded  as  the  local  abode  of  Dixine  Power, 
like  the  ".Merc\-  Seat"  of  the  Tabernacle  of  Israel,  and  was  con- 
tained in  an  open-fronted  shrine  in  the  middle  of  the  court  or 
against  its  back  wall.  The  representations  of  it  on  Roman  coins 
of  Paphos,  and  on  late  finger-rings  like  4087-92  in  the  Collection  of 
Ornaments,  justify  more  detailed  description. 

The  shrine  was  a  wooden  tabernacle  of  four  uprights,  joined  by 
cross-beams,  and  decorated  with  garlands.  The  sides  seem  to  be 
tilled  b\'  some  kind  of  light  screen,  but  the  front  is  quite  open,  and 
if  there  was  a  roof,  it  must  ha\'e  been  slight  and  tlat.  In  some 
representations,  this  shrine  is  Hanked  bv  smaller  structures  con- 
taining other  cones,  and  is  surrounded  b\'  incense-burners,  lamp- 
stands,  or  pillars  for  offerings  like  1377  in  the  Collection  of  Sculp- 
ture. Larger  detached  columns  perhaps  had  the  same  s\mbolic 
function  as  those  in  Minoan  sanctuaries,  or  the  pillars  Jachin  and 
Boa/,  which  stood  before  Solomon's  Temple.  Other  representa- 
tions seem  to  gi\-e  an  outside  or  back  \iew  of  the  shrine,  with 
walls  or  screens  in  place  of  the  sacred  cones:  the\'  usuall\'  show  one 
of  the  detached  columns  leaning  obliquel\-  against  the  building, 
probablv  a  real  obser\ation  of  some  striking  damage  left  long  un- 
repaired. Though  the  coin-t\pes  and  gems  are  all  subsequent 
to  the  Paphian  earthquake  in  15  B.  C.,  it  is  probable  that  the\'  show 

124 


THE    COLLECTION    OF    SCULPTURE 

a  shrine  not  very  different  from  the  old  one;  and  this  is  confirmed 
b\'  its  likeness  to  the  Minoan  shrine  in  the  well-known  fresco  from 
Knossos.  In  front  of  the  shrine  is  usually  shown  a  semicircular 
court,  pa\ed  with  slabs;  the  sacred  doves  of  the  goddess  are  perched 
on  the  shrine,  or  feed  in  the  court\'ard,  like  the  do\cs  of  St.  Mark's 
at  Venice.  Sometimes  they  drink  from  a  pond,  which  contains 
fish,  like  the  sacred  pool  of  the  goddess  Derketo  at  Askalon. 

GODS    AND    RHLIGIOLS    BELIEFS    IN    CYPRUS 

It  is  less  eas\'  to  describe  clearl\'  the  deities  which  were  wor- 
shipped in  these  shrines,  since  Phoenicians  and  Greeks  alike  ha\e 
been  before  us  in  interpreting  the  old  nati\e  worship  into  terms 
intelligible  to  themselves.  When  a  devout  Phoenician  swore, 
like  Hannibal,  "by  the  gods  of  sun  and  moon  and  earth  and 
meadows  and  waters,"  he  was  using  language  which  would  have 
been  acceptable  in  .Asia  .Minor,  in  Cxprus,  in  earh'  Crete,  and  in 
fact  on  almost  all  coasts  of  the  .Mediterranean,  as  a  general  descrip- 
tion of  the  powers  men  ought  to  adore.  But  some  powers  were 
local,  like  the  "meadows  and  waters"  which  furnished  Greece  with 
deities  like  Pan,  the  Graces,  and  all  N}mphs  and  Dr}'ads.  Others 
held  almost  universal  swa\;  most  of  all,  the  Great  Mother  in  Earth, 
who  lo\es  all  growing  things  and  all  things  that  breed,  and  is  also 
Lad\-  of  the  .Moon;  her  crescent  ensign  waxes  still  oxer  the  Nearer 
East.  The  Lord  of  Heaxen,  too,  gixes  to  all  things  light  and 
warmth,  and  moisture  in  due  season,  and  health  to  man  and  beast. 
But  these  kindly  powers  have  their  terrific  aspect,  as  well.  If  the 
Great  .Mother  turn  awax'  her  face,  lixing  things  "die,  and  return  to 
their  dust."  If  the  Lord  of  Heaxen  be  angrx',  the  sun  scorches,  or 
is  darkened;  rain  comes  not,  but  lightning  and  hail,  to  wreck  the 
crops;  or  in  his  absence,  or  neglect,  bad  gods,  onlx'  less  powerful 
than  the  good,  go  loose  in  flood  and  storm. 

In  a  cixilizalion  of  small  insulated  communities,  e\er}'  society 
of  men  xxorshipped  after  its  own  manner,  and  had  a  Latly  or  a 
Lord  (if  its  own,  with  here  one  characteristic  dominant,  and  there 
another.  'Iluis  at  Ijxblos  in  Phoenicia,  al  Askalon  in  the  Philistine 
countrx',  and  probabh'  ;ilso  at  Lhdion  in  <  a  jirus,  the  "Baalat" 
or  .Mislrt'ss  xxas,  aboxe  all,  .Mistress  of  the  .Moon;  at  Paphos,  she 
is  Our  l.ailx'  of  the  Sea  loam,  xxliich  xvreathes  all  that  coast  knee- 
dvi-p  ;ind  m;d\es  manifest  her  power.  So,  loo,  the  "Baa!"  or  (Jtx' 
Lord  of  Sidoii.  ;is  of  G;irt  lui^r  in  I  lu'  \\  fst ,  is  "the  (  at  \  's  King  of 
Health,"  Lshmun-.Mehiarl,  while  tlie  Lord  of  Ixre  and  (jf  Kition  is 

123 


THE    COLI.liCTlON    OF    SCULPTURH 

"  Kiiii^  of  Ligtitning  I'lainc,"'  Kcshef-.Molqart ;  though  Kition  wor- 
shipped Kshnuin  as  well. 

In  the  tlreek  world,  religious  belief  began  in  mueh  the  same  wa\'; 
but  its  course  was  profoundl\'  changed  b\'  the  Norlhern  Invaders, 
who  seem  to  ha\e  brought  with  them  gods  purged  of  almost  all 
local  association,  and  more  purely  human-natured  than  an\'  deities 
of  the  .Mediterranean  world,  ^'et  these  01\nipian  Gods,  too,  are 
found  to  di\  ide  among  them  the  care  of  nature  and  man.  Zeus 
hurled  the  thunderbolt:  .Apollo  ruled  the  sun,  and  shot  the  arrow 
that  tlieth  at  noonda\',  to  bring  pestilence  and  sudden  death; 
Demeter  ga\e  the  har\est;  .Artemis  fostered  or  slew  the  wild  things 
on  the  mountains,  and  ruled  the  moon,  like  the  Lad\-  of  B\blos. 
But  to  whate\er  place  in  C;rcece  their  worshippers  brought  these 
deities,  the\'  recognized  as  their  manifestation  in  that  spot  the 
corresponding  nature  power  which  the  nalixes  more  ignorantl}' 
worshipped:  Zeus  the  Ihunderer,  for  example,  in  Crete  and  Caria 
took  o\er  the  double  axe  with  which  the  old  Lord  of  Hea\en  went 
forth  to  kill.  .Apollo,  Lord  of  Pestilence,  is  disc()\ered  in  the 
Troad  in  a  Mouse  God,  and  so  forth.  With  the  best  will 
in  the  world,  the  strangest  misfits  occurred.  Demeter,  the  golden 
Corn  .Mother,  became  the  Black  Horse  at  Phigaleia;  Artemis,  the 
\  irgin  sister  of  .Apollo,  became  incongruously  Diana  of  the  Ephes- 
ians,  the  ALjther  Goddess  herself,  perhaps  because  both  claimed 
dominion  in  the  moon. 

In  C^xprus  the  Cjreek  colonists  found  old  cults  harder  than  usual 
toclassifw  At  Paphosand  Idalion  function  pre\ailed  over  s\mbol : 
.Moon  Cjoddess  and  f-'oam  Goddess  met  Aphrodite,  the  Greek  f'ire 
God's  wit'e,  on  the  common  ground  of  Lo\e  and  Birth,  and  in- 
augurated a  cult,  half  Greek,  half  from  the  mainland  Fast,  but 
in  fact  essenliallx'  C\'priote,  which  earh'  ri\alled  that  of  Lphesian 
Diana.  "^'et  her  fa\orite  s\mbol  at  Idalion  is  .Apollo's  sphinx,  and 
at  Paphos  her  doves  drink  from  a  fishpond  like  that  of  the  Lad\-  of 
.Askalon.  .At  Kition,  in  the  same  wa\',  a  Baal  who  was  Sun  God 
and  Health  God  and  Destro\er  of  E\il  Things,  could  pla\'  almost 
equall\  well  the  part  of  .Apollo,  of  .Asklepios,  of  Herakles  the  Lion- 
sla\er.  .At  C.arthage  the  Cjreeks  called  him  .Asklepios;  at  Kition 
the\'  tigured  him  as  Herakles;  at  Idalion  he  is  .Apollo.  The  artistic 
problems,  how  to  represent  such  a  deit\',  are  reserved  for  separate 
discussion  on  ioq2  tT. 

Thus  the  old  cults  show  through  their  (jreek  dress  and  names, 
and   epithets   helped    to   make  things  clear.     .At   Kurion,    .Apollo 

126 


THH    COLLECTION    OF    SCULPTURE 

was  H\latcs  "Ciod  of  the  Woodland;"  he  was  also  Amphidcxios, 
probahK'  because  his  statue,  like  those  of  Herakles,  brandished 
weapons  in  bcjth  hands;  in  the  village  shrine  at  Amargetti  he  is 
C)pa(jn  Alelanthios,  the  "C^ompanion"  or  "Good  Shepherd." 
So,  too,  old  nali\e  words  received  popular  et}mologies  in  both 
languages:  at  Idalion  a  local  Sun  God  becomes  f^eshef-Mikal  in 
Phoenician,  and  Apollo  Am\klos  in  Greek;  and  we  cannot  tell  which 
epithet  is  nearer  the  original  name.  So,  too,  Herakles  at  Amathus 
was  called  .Malika.  probably  from  .Vlelek,  "king,"  or  Melqart;  and 
.Apollo,  at  Pyla  is  Magirios,  a  similar  travestw 

These  makeshifts  satisfied  the  popular  mind  all  through  the  great 
period  of  Greek  thought  and  art.  It  was  only  in  Hellenistic  times 
that  the  fresh  confusion  which  resulted  from  .Alexander's  conquests, 
and  the  need  to  incorporate  the  strange  and  innumerable  cults  of 
the  Nearer  East,  made  generalizations  inevitable,  and  met  Judaism 
halfwa\'  in  the  search  for  one  God.  Characteristic  experiments 
in  this  (Collection  are  the  amulet  4299  with  its  concourse  of  symbols, 
snakes,  scorpions,  Egyptian  beetles,  and  solar  discs,  round  a  single 
man-shaped  deit\';  and,  on  purer  lines,  the  engrax'ed  motto  (4289) 
si;  Zs'j;  ^spaz'.c  "There  is  One,  Zeus  Scrapis,"  the  Eather  one 
with  his  Son,  who  is  Health  God,  and  saves  by  dying. 

THE  USES    OF    SCULPTURE    IN    SANCTUARIES 

Ancient  religious  ritual  expressed  the  aspiration  of  the  wor- 
shipper to  enter  into  the  closest  attainable  communion  with  the 
deil\.  Recognized  means  of  such  communion  were  as  follows: 
jHTSonal  attendance  at  the  holy  place;  performanci'  of  sacred  acts, 
illustrating  of  the  di\ine  power  or  its  effects;  participation  with 
other  \otaries  in  ritual  feasts,  chants,  or  dances;  and  contributions, 
accorchng  to  the  indixidual's  means— "a  pair  of  turtle  doves  or 
two  \()ung  pigeons"  to  t  he  material  needs  of  a  deit\'  conceived 
in  human  form.  lUit  these  religious  acts  took  time,  which  the 
\-otar\-  could  ill  spare  from  the  dail\'  round;  and  after  all,  their 
ef(icac\'  was  short-li\ed.  To  maintain  continuous  communion, 
while  "man  goeth  forth  to  his  work  and  to  his  labour,"  continuous 
;ittendance  was  essential;  but  priniiti\e  thought  permilleil  the 
substitution  of  an  ei'lig\'.  The  material  abodes  of  the  di\init\', 
baet\ls  or  cult-statues  or  s;icreil  animals,  like  the  do\  es  of 
Aphrodite,  provided  an  ob\ious  analogw  If  these  material  forms 
could  ensure  the  di\  ine  presence,  an  image  of  the  worshipper  coukl 

127 


Tin:  coi.i.i-.cTiON  of  sculpture 

surely  serve  to  represent  him  too,  ever  present  before  the  face  of 
his  I.ord,  and  engaged  in  acts  of  worship.  Hence,  alongside  of  the 
cult-statues  of  the  deit\',  which  were  common  in  Greece  and  in 
Hg\pl,  familiar  in  other  parts  of  the  old  world,  and  not  unknown 
in  C\prus,  arose  the  custom  that  the  \otary  should  furnish  an 
image  of  himself,  to  stand  e\er  in  the  hol\'  place,  and  secure  the 
divine  blessing  to  the  person  who  had  set  it  there.  .And  sculptured 
representations  of  sacred  animals  or  other  attributes  of  the  deity 
were  of  no  less  efficacx'  than  the  image  of  the  worshipper. 

Fhe  Cesnola  Cj)llection  illustrates  abundantlx'  all  these  kinds 
of  \otive  sculpture.  Representations  of  the  deit\',  indeed,  only 
become  common  in  C\prus  after  Greek  influence  has  pre\ailcd. 
Representations  of  the  votar\'  were,  however,  always  in  use.  Por- 
traiture was  seldom  attempted,  and  at  most  periods  it  seems  likeh', 
from  the  uniformity  of  style,  that  votive  statues  were  prepared  in 
adxance,  and  bought  "read\-made"  b\'  all  but  the  wealthiest  or 
most  scrupulous.  The  most  popular  are  those  which  simph' 
present  themselves  before  the  deitv  in  their  ordinar\-  dress,  with 
hands  hanging  b\-  the  side,  or  slung  in  a  fold  of  the  cloak;  others 
raise  the  hands  in  adoration  or  pra\er,  or  join  in  dance  or  banquet, 
or  pla\'  the  tlute,  l\Te,  or  tambourine,  the  common  accompaniments 
of  worship.  Women  wear  their  richest  ornaments,  and  carrv  a 
tlower.  Either  sex  may  come  crowned  with  wreaths,  or  bringing 
offerings  of  fruit  or  cakes;  of  wine  (in  pitchers,  or  libation  bowls); 
of  incense,  or  hol\'  water  (symbolized  by  a  lustral  sprax) ;  of  birds  or 
N'oung  animals  for  sacrifice,  or  children  as  thank-offerings,  or  to 
invoke  a  blessing.  The  birds  and  animals,  being  themselves  em- 
blems of  the  deitv  and  repositories  of  divinit\-,  are  often  represented 
separateh';  and  in  the  same  wa\'  other  attributes  or  accessories: 
Apollo,  for  example,  is  present  in  his  sphinx,  1086-9,  and  Herakles 
in  the  lion  or  h\dra  or  triple  giant  which  showed  forth  his  power 
(i  101-13,  1292-4). 

Portraits  of  kings  or  priests,  under  these  conditions,  are  hardi}' 
distinguishable,  except  in  external  detail,  from  those  of  an\'  other 
worshipper.  There  are,  however,  a  few  classes  of  figures  which 
stand  on  a  rather  different  footing.  \'er\'  common  in  this  Collection 
are  the  so-called  Temple-boys,  1204-22,  which  are  frequent  also 
in  sanctuaries  at  Voni,  Kh\Troi,  Tamassos,  and  Idalion.  Unlike 
the  adult  votaries,  which  are  usualh'  male  in  the  sanctuaries  of 
male  deities,  and  female  in  those  of  goddesses,  these  temple-bo\'s 
seem  to  occur  in  the  abodes  both  of  Apollo  and  of   the   Lady  of 

128 


THE    COLLECTION    OF    SCULPTURE 

Paphos.  If  thev  had  been  confined  to  the  latter,  they  might  have 
passed  for  Adonis,  the  youthful  consort  of  the  Mother  Goddess 
in  S\ria;  but  it  seems  most  probable  that  they  represent  some  class 
of  dedicated  children,  like  the  infant  Samuel  in  Jewish  story,  who 
"ministered  conlinuallx'  before  the  Lord,  "  at  the  shrines  where  these 
effigies  are  found.  These  figures  do  not  appear  before  the  fifth 
centurx',  but,  once  introduced,  they  persist  till  the  very  latest 
phases  of  Graeco-Roman  work. 

.■\  rarer  tvpe  is  a  votar\'  in  Oriental  dress,  with  loose  trousers 
and  tunic,  and  Phr\gian  or  Persian  cap,  with  long  lapels.  These 
figures  (12^1,  1350)  resemble  a  late  type  known  elsewhere  as  "Paris," 
but  theoccurrenceof  a  dancing  figure  in  this  guise  makes  it  probable 
that  some  special  kind  of  worshipper  is  intended,  as  with  fhe 
1  emple-bo\s;  perhaps  a  consecrated  person  like  the  Galli  and  other 
temple  ser\ants  of  the  Mother-Goddess  in  Asia  Minor. 

Rarer  still  are  figures  like  1359,  which  seem  to  wear  a  ceremonial 
dress,  with  a  peculiar  belt,  and  a  napkin  tucked  into  it  in  front  and 
behind.  This  can  hardly  be  anxthing  else  than  a  religious  official 
in  his  robe  of  service;  but  his  duties  and  station  are  not  known. 

In  Hellenistic  times,  commonplace  Greek  figures  of  deities 
(1240-46)  such  as  Artemis,  and  perhaps  Demeter,  begin  to  intrude 
at  some  sanctuaries,  among  the  votaries  and  temple-boys,  and 
herald  the  break-up  of  the  simple  natixe  sxstem  of  m\-tholog\-  and 
ritual.  Votaries  are  represented  as  orators,  poets,  or  warriors 
(1232-6)  or  have  portrait-heads  with  x'arving  poverty- ()f  expression. 
Some  of  the  small  heads  distantly  resemble  portraits  of  Roman 
emperors;  but  in  no  case  do  these  heads  belong  for  certain  to  the 
bodies  with  which  they  have  become  connected. 

II.       THE    MATI-;RI.'\LS    and    PR()(T;SSi;S    of    CYPRIOTE: 
SCULPTUR1-. 

The  materials  and  processes  emploxed  In  I  iu'  G\  [iriote  sculptor 
deserve  a  \V(jrd  of  explanation;  for  tln'\  illustrate  the  essential 
dependence  of  form  and  st\ie  on  the  ciualilies  of  the  rude  matter, 
and  on  the  means  which  the  artist  had  at  hand  for  imposing  his 
conceptions  upon  it. 

G\-lirus  \ields  iirither  marble,  such  as  is  the  glorx'  of  Attica  and 
the  Greek  islands,  nor  compact  cr\stalline  rocks  like  the  basalt 
and  graniti'  of  l-.g\in.  Its  sole  malrrials,  either  tor  building  or 
for  sculpture,  are  its  allu\'ial  cla\'s,  and  the  soft  tertiary  limestones 

129 


IHl-     COLl.l-X'l  ION    Ol      SCLl.n  LRl- 

of  its  toot  hills,  and  of  those  rolling  ck)\vns  in  the  southeast,  in  the 
hollows  of  which  he  the  sanctuaries  of  Ciolgoi  and  Achna.  Ihese 
ehalk\'  limestones  are  soft  as  cheese  when  first  quarried,  but  soon 
become  harder,  though  the\  ne\er  stand  exposure  well.  Thex' 
contain,  moreo\er,  so  much  g\  psum  that  the\'  are  liable  to  dissohe 
if  the\'  lie  for  long  in  wet  soil.  I'hex-  ha\e  also  in  most  places  the 
tatal  defect  that  lhe\'  are  interbedded  with  thin  partings  of  marl, 
which  causes  the  rock  to  split  into  slabs  with  dangerous  ease.  Even 
the  thicker-bedded  and  most  compact  \arieties  are  seldom  free  from 
obscure  flaws  of  this  kind,  which  make  the  car\ing  of  outstretched 
hands  and  feet  impracticable,  and  imperil  the  nose  and  chin. 
Something  could  be  done  tt)  e\ade  this  trouble  hv  carxing  an 
outstretched  hand  in  a  separate  block,  and  dowelling  it  into  a 
socket  at  the  elbow;  but  for  the  most  part  the  natixe  sculptors 
accepted  this  limitation,  and  car\ed  their  statues  in  much  Hatter 
planes  from  front  to  back  than  the\'  emplo\ed  from  side  to  side; 
and  b\'  restricting  thcmsehes  further  to  compact  subjects,  hv 
ruthless  foreshortening,  and  b\-  some  distortion,  they  succeeded]  in 
adapting  a  surprising!}'  large  number  of  poses  and  gestures  to  their 
precarious  and  untrustworth\-  material,  it  should  be  added  that  as 
the  limestones  \ar\'  locall\',and  each  sanctuar\'  seems  to  ha\"e  draw  n 
almost  ail  its  \oti\e  offerings  from  the  quarries  of  its  own  neighbour- 
hood, both  local  skill  and  natural  limitations  \aried  concurrent  1\. 
.At  Idalion,  for  example,  where  the  rock  is  thin-bedded,  the  statu- 
ettes are  nearl\-  all  small,  and  the  majorit\-  of  them  onl\-  a  few  inches 
thick.  .\t  Ciolgoi,  on  the  other  hand,  the  limestone  which  was  in 
use  is  exceplionalh'  thick  and  compact,  and  much  of  the  sculpture 
— even  the  largest — is  but  little  distorted:  for  example,  the 
Priest  withaDox'e,  135 1 ,  the  colossal  Herakles,  i  360.  and  the  larger 
statues  in  CA>ntre-Case  B.  E\en  masterpieces  such  as  these 
are,  howexer,  usuallx'  fkit  at  the  back,  ami  the  proiecting  arms 
of  the  Priest  were  dowelled  at  the  elbow,  in  the  manner  alread\' 
described. 

The  tools  of  the  Cxpriote  sculptor  were  primitixe.  The  block 
was  rough  hewn  with  a  fkit-bladed  adze,  the  marks  of  which  are 
often  to  be  seen  on  the  backs  of  the  statues.  Then  a  \er\'  few- 
chisels  of  various  widths,  and  a  broad-bladed  knife  were  enough 
to  finish  the  work.  The  drill,  which  pla\s  so  important  a  part 
in  the  sculpture  of  marble,  does  not  seem  to  have  been  emploxed 
until  the  fifth  centurx',  when  Greek  methods  of  work  were  intro- 
duced, along  with  CJreek  models;  and  ewn  then  its  use  is  but  rare. 

130 


THE    COLLECTION    OF    SCULPTURE 

III.      THE  USE  OF  COLOUR  IN  CYPRIOTE  SCULPTURE 

In  a  material  so  soft,  so  uncertain  of  grain,  and  also  so  opaque  as 
these  limestones,  reallx'  delicate  modelling  and  refinement  of 
surface  were  out  of  the  question.  There  was  all  the  more  reason, 
therefore,  for  copious  use  of  colour.  The  same  practice  prexailed 
in  Greece  during  the  earh'  periods,  when  sculpture  was  still  in 
limestone.  The  usual  pigments  are  the  same  red  and  black  as 
are  commonh'  empiox'ed  in  the  potter}',  with  rarer  use  of  the 
\ellow  and  blue-green  which  appear  on  a  few  vases  (741-50)  and 
terracottas  (2120,  2150-4).  The  original  tint  of  the  blue-green 
was  probabl\"  sk\-  blue.  Red  is  commonl\'  used  for  e\'es  and  hair; 
for  borders  and  embroidered  patterns  on  the  clothing;  and  for 
collars  and  necklaces,  which  are  often  on  too  small  a  scale  to  be 
rendered  in  relief.  Black  is  almost  alwaxs  used  for  hair  and  beard. 
Yellow  is  reserved  to  represent  gold  or  burnished  bronze,  and  blue 
for  te.xtiles,  leather-work,  and  perhaps  for  sih'er,  as  on  the  great 
sarcophagus  1365  in  Floor-Case  E.  .\s  a  rule,  these  colours  were 
applied  directlx'  to  the  surface  of  the  limestone,  and  ha\'e  been 
absorbed  b\'  it  so  as  to  leave  a  stain  even  where  the  paint  itself 
has  gone  to  powder.  On  some  of  the  coarser  limestones,  howe\'er, 
the  surface  was  first  prepared  by  a  hard  coat  of  limewash  or  thin 
plaster,  \-erv  like  that  of  the  archaic  /)oroi--sculpture  of  Attica.  On 
this  limewash,  which  co\'ered  the  whole  surface,  the  coloured  details 
could  be  painted  with  greater  accuracy  and  distinction.  .\  good 
example  of  this  limewash  is  the  great  sarcophagus  1365  already 
mentioned :  though  it  has  been  sHghtl\'  retouched,  b\'  far  the 
greater  part  of  its  paint  is  ancient  and  in  good  condition.  Other 
important  examples  of  colour,  in  the  Collection,  are  the  well- 
known  Priest  with  a  Do\e  135U  a  small  statue  of  Herakles  io<;)3, 
a  life-size  bearded  head  of  a  Priest  or  \'otar\-  \2()\.  the  Triple 
Cerx'on  i2()2,  and  two  funerar\-  stelae  !4i3-i6  with  knotted  sashes 
painted  across  their  flat  surface. 

Not  unnaluralh',  the  consciousness  thai  colour  was  axailable  to 
supplement  the  carx'er's  efforts,  encouragcxl  him  in  slo\enl\-  work, 
especi;:ll\-  afti'r  the  nati\i'  st\  le  IkuI  lost  its  archaic  \igour.  In  the 
sixth  centur\-,  loo,  and  perhaps  r\  rn  earlier,  t  he  hair  of  exebrows, 
moustache,  and  heard  was  rendered  hv  appl\  ing  colour  to  a  slightly 
raised  surface,  which  followcxi  closrlx'  the  contour  of  the  skin,  and 
was  left  c|uitt'  smooth.  It  is  no  longer  clear  whether  the  coloured 
surface  was  shatled  l(j  show  the  texture;  but  the  analog}-  of  the 

131 


nil-;  coLLici  ION  oi-   sc.uli'Tlri-: 

arL-haic  Greek  seulplure   alreacl\-  menlioneei  suggests  that  it  was 
uniform. 


IV. 


THH   SUCCHSSION   OF  STYLES  IN  CYPRUS 


A.       THH     tARLIIST     I'HASl:,     NOT     V  HT     MUCH     AIFHC.THD     BY 
OKIHNIAL     INFLLHNCHS 

No  sculpture  in  stone  has  as  \et  been  fo'ind  in  C\prus,  of  the 
Bronze  Age  or  of  the  Earliest  kon  Age.  l-'or  these  earlier  periods, 
all  our  knowledge  of  the  art  of  figure  modelling  is  deri\ed  from  work 
in  ehiN',  or  in  glazed  ware,  from  ivor\'-reliefs,  and  from  engraxed 
seal-stones.  Yet  the  art  is  not  of  whollx'  foreign  origin.  Though 
the  long  and  continuous  series  of  \oti\e  statues  from  the  sanctuaries 
first  becomes  copious  at  a  period  when  .\ss\  rian  iniluence  alreadx' 
predominates,  nexertheless  there  stands  side  b\'  side  with  the 
grim  bearded  and  helmeted  heads  and  "  Bab\!onitish  garments" 
in  which  the  intrusive  st\ie  is  most  rexealed,  another  series  of 
figures,  beardless,  yet  not  female,  h)4o-(),  12s  i-(),  wearing  frontlets 
of  nati\e  design,  and  clothed  with  a  peculiar  loin-cloth,  shaped  and 
sewn  like  bathing-drawers,  which  has  no  counterpart  in  Ass\ria, 
in  Eg\pt,  or  e\en  on  the  S\  rian  and  Asia  Minor  coast-lands,  and 
seems  to  be  of  a  local  fashion  de\e!oped  from  the  loin-cloths  and 
kills  of  the  C>\'pro-.\l\'cenaean  world.  That  such  a  costume  should 
have  sur\i\ed,  at  all  e\ents  as  "  full  dress"  for  ceremonial  purposes, 
should  not  surprise  us.  What  is  more  noteworlln-  is  the  two-fold 
likeness  of  the  statues  which  wear  it,  to  the  sharp-nosed,  long- 
chinned  terracottas  of  the  EarK'  Iron  Age,  14s  1-2,  in  Floor-(>ase  .\, 
in  which  there  is  as  \et  no  trace  of  Oriental  st\ie.  and  to  the  few 
surviving  examples  of  the  larger  modelling  of  the  i.ate  Bronze 
Age:  compare  especialh'  the  well-known  head  in  painted  plaster, 
from  .\l\-cenae,  and  the  female-headed  cups  in  coloured  glaze  from 
the  British  .Museum's  excavations  at  h.nkomi,  in  (Aprus  itself. 
The  likeness  of  the  rosetted  frontlets  which  these  heads  wear  to 
the  gold  frontlets  from  late  .Minoan  tombs  at  Fnkomi  is  tempting, 
but  not  conclusixe;  since  other  rosettetl  frontlets  were  worn  b\' 
the  courtiers  of  Sennacherib.  H\en  these,  howexer,  belong  to  the 
}'earsimmediatelv  around  700  B.  C.  If  this  comparison  be  justified, 
the  art  (jf  sculpture  must  ha\e  been  practised  not  much  later  than 
the  middle  of  the  eighth  centur_\',  and  perhaps  e\en  earlier  than 
that. 

n2 


THH    COLLECTION    OF    SCULPTURE 

In  Greece,  few  would  venture  to  date  any  extant  sculpture 
earlier  than  about  600  B.  C,  though  figures  of  cla\-  and  bronze,  in 
more  or  less  Oriental  style,  may  well  go  back  rather  earlier,  in 
proportion  as  the  originals  of  them  were  easil\'  portable.  In 
C\prus,  however,  Eg\pt  is  near  at  hand,  with  its  long  tradition  of 
figure-sculpture,  and  Assyria,  though  far  less  facile  in  the  round,  has 
relief-sculpture  of  indisputable  antiquitx',  and  so  like  the  earlier 
C\priote  work  as  to  make  it  improbable  that  they  are  either 
independent  in  conception  or  very  far  apart  in  date.  There  is 
therefore  good  reason  for  assigning  dates  to  G\  priote  sculpture  in 
accordance  with  the  clear  sequence  of  its  st\  les.  Costumes  might 
(and  probabK'  did)  overlap,  but  the  treatment  of  the  face,  and 
particularl\'  of  e\es,  mouth,  and  hair,  offers  a  sure  criterion  of  st\ie, 
and  links  the  whole  series  at  its  upper  end  to  Ass\rian  reliefs  and 
pre-Ass\Tian  terracotta  figures,  and  at  the  lower  to  Greek  art  of  the 
late  sixth  centur\'  . 

B.       THh    ORIENTAL    STYLE     LNDER    MAINLY     ASSYRIAN 
AND    NORTH     SYRIAN     INILUENCES 

In  general,  however,  our  present  knowledge  has  not  enabled  us 
to  push  the  common  use  of  sculpture  appreciably  further  back  than 
the  period  when  G\prus  begins  once  more,  after  long  isolation,  to 
respond  to  inspiration  from  outside;  and  then,  as  we  ha\e  already 
seen  from  the  ptjttery,  the  stimulus  is  at  first  wholl\-  eastern. 
C)b\  ious  points  of  similarit\'  between  earl\'  (Cypriote  sculpture  and 
the  llitlite  monuments  of  Asia  Minor  and  North  S\  ria  cannot  be 
interpreted  with  confidence  till  the  dates  and  sequence  of  the 
mainland  art  are  better  known  than  at  j->resent.  '1  he\-  nia\-  be  due 
rather  to  collateral  borrowing  from  the  old  Bab\ionian  culture  of 
North  S\ria,  than  to  direct  intluence  of  llittiteart  on  that  of 
C^\[irus.  Vet  the  latter  possibilil}-  cannot  be  let^t  out  of  account, 
and  the  traflic  in  sral-stones  and  other  amulets  indicates  that  inter- 
course with  the  mainland  was  ne\er  interrupted  during  the  b.arl}- 
Iron  .\ge. 

It  is  from  Ass\ria,  ho\w\cr,  in  its  tliiril  great  phase  ol  aggression, 
aftrr  thr  \ear  74^,  that  (;\priott-  art  si'eiiiN  to  take  its  lirst  new 
ins|iirat  ion.  Tlu'  effects  were  profound,  '!  he  old  frameel  helmet 
witli  side-llai-)s  stiffens  into  a  rigid  cone  of  metal,  like  the  regulation 
lu'lmct  of  ,\ss\rian  infantr\'  (\2t--^);  llie  round  shieUi  accjuiri's  a 
sharp-point  rd  boss  at  its  centre  'tS-I-SJ,  and  the  swortl  becomes 
oiKc  more  short  and  dagger-like  (1  iS4-y);   it  has  a  heaw  sjiherical 

1  5  3 


im-    ('.OLI.lan  ION    Ol-     SCLLI'TLRH 

pommel,  and  is  worn  almost  horizontallx'  in  the  belt.  The  native 
belt  and  loin-cloth  are  generalh  discarded;  the  tunic  lengthens  to 
the  ankles;  and  o\  er  it  is  worn  a  hea\  \  cloak,  which  hangs  in  straight 
folds  from  the  left  shoulder,  and  is  caught  up  from  behind  under 
the  right  arm,  and  thrown  o\er  the  left  shoulder  again,  displaxing 
in  front  its  hea\\'  tasselled  fringe.  The  dress  of  the  women  is  no 
less  accuratel\'  rendered,  as  ma\'  be  seen  from  the  description  of 

I2()2. 

Other  Oriental  loans  are  the  human-headed  and  lion-headed 
monster  1021,  recalling  those  which  guard  the  palace  doorwaxs 
of  Nine\eh  (see  the  Museum  O.oUection  of  Casts,  No.  1^21;  and  the 
heav\--maned,  smooth-bodied  lions,  iioi,  i3()5-4,  \er\' different  in 
handling  from  the  lithe  natural  lions  of  .\l\cenaean  art,  but  no  less 
\  igorous  in  their  own  wa\',  and  clearl\'  dependent  on  the  lion- 
sculpture  of  .Assxria  (see  the  .Museum  Collection  of  Casts,  Xos. 
147,  149,  and  the  note  on  lion-t\  pes  on  p.  239  below). 

C.       THH      .MIXHD      ()RIhNT.\L      Sl^LE      UNDbR      .M.MNLY 
Ed  I'lIAN     iMLLENCh 

.Assxrian  intluencc,  howexer,  did  not  dominate  C\prus  for  long. 
It  ma\'  ha\e  begun,  as  we  ha\e  seen,  a  little  in  adxance  of  the 
Ass\rian  protectorate;  and  no  doubt  it  persisted  for  a  while  after 
that  protectorate  had  lapsed;  it  max,  therefore,  haxe  lasted  from 
about  750  to  650  B.  C,  and  haxe  oxerlapped  the  ne.xt  stxie  until 
the  close  of  the  sexenth  centurx'.  But  in  W14.  the  sudden  unfore- 
seen rejuxenation  of  Egxpt  under  the  Txxentx -sixth  D_xnast\-  not 
onlx'  marked  the  turning  point  of  .Assxrian  fortune,  but  also 
impelled  Egxpt  itself  on  a  career  of  defensixe  conc]uest. 

It  IS  not  certain  how  soon  Egxpt  laid  political  hold  on  Cxprus; 
among  the  Creeks,  it  was  .Amasis  (s70-52()  B.  C.)  who  had  the 
credit  of  annexation.  Ihe  exidence  of  the  potterx',  hoxxexer,  is 
conclusixe,  that  Egxptian  fashions  were  in  \oguc  at  an  earlier 
date;  and  probablx'  xx'e  max-  assign  their  introduction  into  Cxprus 
tt)  the  long  reign  of  Psammetichus,  xxhich  occupies  the  later  half 
of  the  sexenth  centurx-  (()64-6io  B.  C).  This  date  is  of  course  quite 
independent  of  that  at  which  Eg\-ptian  scarabs  and  amulets  began 
to  be  imported,  since  some  of  these  ornaments  go  back  to  the  ob- 
scure period  of  the  Tw-entx-fourth  and  Twentx-flfth  D_x-nasties 
which  precede  the  .Assx'rian  conc]uest. 

(Conspicuous  signs  of  Egx-ptian  influence  are  the  linen  kilt  and  ttie 
hea\-y  artificial  wig,  which  not  onl\-  decorated  the  clean-shaxen 

134 


THE    COLLECTION    OF    SCULPTURE 

head,  but  protected  it  from  the  Egyptian  sun.  In  the  cooler 
climate  of  C)prus,  this  wig  was  of  course  as  unsuitable  as  the 
scanty  kilt  and  the  bare  breast  and  arms;  but  it  is  not  necessary 
to  suppose  that  Egyptian  full-dress  costume  superseded  native 
clothing  for  ever\'-day  wear.  Indeed,  with  a  very  few  exceptions, 
such  as  1362,  the  Cypriote  statues  which  wear  the  Eg\'ptian  kilt 
still  wear  also  the  same  skin-tight  vest  as  those  with  the  old  native 
loin-belt.  The  Egyptian  kilt  itself,  too,  changes  its  fashion;  only 
a  few  examples  are  folded  across,  as  was  the  custom  in  Eg}pt,  so  as 
to  veil  the  central  panel;  the  majority  have  their  two  sides  drawn 
apart,  in  several  pleats  or  side-folds,  and  the  central  panel,  now 
fully  exposed,  is  enriched  with  embroidery  of  uraeiis-snakcs  and 
other  symbolic  objects  in  well-marked  relief.  Sometimes  the  belt 
is  of  leather,  or  metal,  or  both,  and  is  richly  embossed  like  the 
panel  of  the  kilt. 

The  fashion  of  the  beard  also  changes  now.  The  Ass\Tian  full- 
beard,  with  its  ferocious  curls,  gives  place  to  one  so  close-cut  that 
it  shows  the  contour  of  the  chin;  and  the  moustache  is  often  shaved. 
Curious]}'  enough,  the  one  figure  of  this  st\le  which  wears  a  curly 
beard  (1363)  is  also  the  onl\'  one  to  show  the  peculiar  double  crown 
of  an  Egyptian  king;  and  as  the  execution  is  mature,  and  not  earlier 
than  the  middle  of  the  sixth  centurv,  the  guess  ma\-  be  permitted 
that  this  figure  is  intended  to  represent  Amasis  himself. 


D.      THE    ARCHAIC    CYPRIOTE    STYLE 

The  art  of  Egvpt,  however,  never  exerted  such  unqualified  in- 
fluence on  C\priote  sculpture  as  did  that  of  Ass>  ria;  parti}'  through 
the  very  fact  that  Ass}'rian  art  had  alread}'  operated  so  profound!}'; 
partly  because  the  Egyptian  renaissance  itself  'v^as  intimately 
connected  with  the  spread  of  that  Hellenism  which  was  soon  to 
supersede  it.  In  Cyprus,  too,  Hellenic  spirit  appears  increasingly 
in  all  departments,  absorbing,  selecting,  and  recombining,  from 
the  medley  of  Oriental  moti\es,  the  elements  of  a  coherent  and 
harmonious  st}'le;  and  emplo\'ing  the  technical  skill  which  CL}'priotc 
sculptors  had  won  from  their  varied  apprenticeship,  to  render  old 
forms  with  a  new  and  vigorous  naturalism. 

The  same  process,  of  course,  was  going  on  in  other  parts  of  the 
Cjreek  world;  but  in  Cvprus  the  natixe  school  of  sculpture  was 
older,  its  materials  easier  to  manage  even  than  the  poros-stonc  of 
Attica,  and  its  political  and  religious  constitutions  more  favourable 

135 


THE    COLLECTION    OF    SCLLl'TLRE 

Ui  the  production  of  \()ti\o  sculpture  on  a  large  scale,  in  proportion 
as  the\' were  niorearchaic  (p.  xx.wii).  And  since  the  Kg\ptian  renais- 
sance itself  was  distinguished  b\  a  \  er\  similar  readjustment  of 
old  artistic  traditions  to  the  higher  canons  of  the  new  Hellenism, 
the  Eg\ptian  models  themsehes,  which  most  influenced  the  C\  p- 
riote  sculptor,  were  at  the  same  time  more  congenial  to  him,  and 
more  consistent  with  the  Hellenic  ideal,  than  the\-  could  ha\e  been 
at  an\'  other  period. 

I'he  .Mixed  Oriental  st\les,  therefore,  pass  insensibl\'  into  the 
IviiT.^'jjZ  yy.^xy.-.r,;,,  that  ".Archaic  Cypriote  st\lc,"  b\-  which 
Aesch\  lus  (Siippliccs  2(S2)  illustrates  figurati\  eh'  the  guise  of  the 
daughters  of  Danaos,  western  in  origin,  but  transfigured  b\-  oriental 
sojourn.  The  rendering  of  surfaces  rapidl\'  becomes  more  delicate; 
the  e\e  and  mouth  tender  and  \i\acious,  occasionall\  e\en  grotesque 
in  their  nai\  e  attempts  to  be  expressi\e.  The  hair  escapes  from  the 
cap  under  which  .Assvrian  incompetence  had  hidden  it,  and  shakes 
oil"  the  massixe  smoothness  of  the  Egyptian  wig.  On  the  forehead 
it  is  drawn  forward  in  one  or  more  rows  of  small  corkscrew  curls, 
borrowed  from  .Assxrian  tradition,  but  transformed  altogether  in 
the  borrowing.  Behind,  where  it  still  falls  to  the  shoulders  in  a 
hea\\'  mass,  the  same  detailed  treatment  is  attempted,  and  long 
plaits  or  wa\\-  locks  are  drawn  forward  in  front  of  each  shoulder. 
A  full  pointed  beard  and  small  drooping  moustache  are  worn  once 
more,  but  the  beard  has  curling  locks,  at  tirst  small  and  numerous, 
and  then  relaxing  their  set  rows  into  a  natural  disorder. 

.■\  fresh  costume  comes  in  at  the  same  time.  The  shaped  and 
embroidered  loin-belt  is  discarded;  the  tunic  becomes  looser  and 
falls  to  the  knee;  and  sometimes  has  what  looks  at  first  sight  like 
an  overfold.  If  so,  the  tunic  itself  must  ha\  e  changed  from  a 
shaped  and  sleeved  \'est  like  the  "Ionic  chiton"  of  .Asia  Minor,  to 
something  more  like  the  "  l^oric  chiton"  of  Greece,  which  is  nothing 
but  a  simple  sheet  pinned  into  shape  o\er  the  shoulders,  "^'et  some 
representations  (1096,  ns"*"*)  show  the  slee\es  of  the  tunic  beneath 
this  oxerfold;  and  it  is  pcjssible  that  the  new  feature  is  reall\' 
a  separate  garment  shaped  like  the  undertunic,  but  shorter  in 
front,  wider  at  the  neck,  and  sleeveless.  .A  loose  Joak  is  now 
often  worn  oxer  all,  \ariousl_\-  draped  about  the  tigure  like  the 
Greek  "  himation." 

I  his  .Archaic  G\priote  st\le  corresponds  in  date  approximateh 
with  the  sixth  cenlurx"  F^.  (1  It  departs  b_\  insensible  degrees  from 
the  previous   Oriental   phases,  and  passes   bv   as   gradual    transi- 

136 


THE    COLLECTION    OF    SCULPTURE 

tion   into  the   Mature  Cypriote  st\le,   under   Hellenic   influence, 
which  belongs  to  the  century  which  follows. 


E.      THE    MATURE    CYPRIOTE     STYLE 

This  transition  might  have  been  more  gradual  and  the  effects 
of  Greek  intercourse  more  profound,  had  the  political  history  of 
Cyprus  been  less  chequered.  On  the  collapse  of  the  L\dian  Empire 
in  545  B.  C,  the  Greeks  of  Ionia  fell  under  the  suzerainty  of  Persia; 
and  in  the  next  generation,  the  Persian  conquest  of  Egypt  involved 
the  cities  of  Cyprus,  Greek  and  Phoenician  alike,  in  the  same  fate. 
Phoenicia  itself  had  alread\-  surrendered  before  Eg>pt  was  at- 
tacked in  526  B.  C.  For  nearly  another  generation,  Persian  suprem- 
acy was  unquestioned.  Then,  in  500  B.  C,  the  failure  of  the 
Ionian  Revolt  (p.  xxxviii),  ill-timed,  ill-led,  and  ill-fated,  had  theetTect 
of  precluding  Cxprus  from  further  share  in  the  Persian  Wars, 
and  cut  off,  also,  the  stream  of  Greek  imports  and  ideas,  which 
had  affected  the  island  fruitfully  so  long  as  Cxprus  and  Ionia  were 
both  under  Persian  rule. 

Ihis  isolation  lasted  the  longer,  because  the  Greek  naval  \ictorics 
at  Salamis  and  Mykale,  which  expelled  the  Persians  from  the 
Aegean,  did  not  directly  touch  their  sea  power  beyond  it.  But  in 
466  B.C.  Kimon's  double  victor\-  at  the  Eurymcdon  River  opened 
the  waters  of  the  Levant  once  more  to  the  enterprise  of  the  Greek 
League;  and  within  the  next  few  years  Cvprus  became  the  base  of 
a  strong  naval  patrol.  Then  Persia  rallied;  the  crushing  defeat  of 
the  expedition  to  Eg\'pt,  in  454  B.  C,  the  political  troubles  of 
Athens  at  home,  and  the  death  of  Kimon  during  a  siege  of  Kition 
in  440  B.  (l.  cut  short  these  prospects,  and  C]\prus  was  abandoned 
once  more  to  Persian  over-lordship,  and  to  cixil  wars  of  Phoenician 
against  Greek. 

In  (^xpriote  sculpture,  the  effect  of  this  sequence  of  events  is 
clear,  (^it  off  from  its  Ionian  models,  the  .Archaic  (^\priote  stxle 
belies  its  bright  promise;  and  the  brief  contact  with  Athens  in 
4()0-44()  P>.  (I.  gave  onh'  short-lixed  stimulus  in  a  rather  ditferent 
tiirecli-'JU.  The  rare  examples  of  Alt  ici/ed  vsork  \  12S5,  i  2()o,  i2()5-()q, 
1  5()(Sj  teslif\'  rather  to  the  supreuK'  charm  of  Athenian  sl\ie  — 
momentaril)'  seen,  and  as  suddenh' appreciated  -  than  to  an\'  real 
apprenliceshij-)  in  this  potent  school.  Though  a  new  and  li\ing 
spirit  animated  thi'm  lor  a  briet  space,  the  tornis  and  conven- 
tions of  the  native  sl}le  vmtc  not  permanent  1\-  altered;  and  then  — 

!37 


1H1-;  c.oi.i.HcnioN  of  S(;iiLi>riJRi- 

this  opportunitN  once  lost  -  (Ixprus  retirctl  into  itself,  to  pcr- 
potuato  in  loni'l\-  stagnation  an  archaism  which  it  had  all  but  out- 
grown. 

K.       THh    DKCADHNT   CYPRIOTE    ST^LE 

Onl\'  once,  at  a  moment  when  Athenian  fortunes  seemed  to  be 
failing  most  surel\,  did  another  prince  of  Salamis,  Evagoras, 
attempt  to  rescue  C]\  prus  from  h\brid  indolence  and  apath\-;  and 
there  seems  little  doubt  that  craftsmen  and  other  artists  came 
freel\  to  his  court,  as  they  came  to  the  courts  of  Macedon  and 
S\racuse,  in  the  last  troubled  \ears  of  the  Peloponncsian  War,  and 
still  more  during  the  brief  nightmare  of  Spartan  supremacv. 

But  in  C\priote  art  long  inertia  ended  in  paral\  sis.  In  the  middle 
of  the  fifth  cenlur\'  C\prus  and  Athens  had  still  been  near  enough 
in  thought  to  be  mutually  intelligible  in  art;  but  before  its  close, 
Athens  had  moved  forward,  and  carried  all  Greece  with  her,  into 
a  new  world  of  skill  and  feeling.  1  he  (Cypriotes  alone  had  sla\ed 
almost  where  they  were;  and  to  stagnate,  amidst  such  progress, 
was  to  die.  So  the  maturer  schools  of  fourth  centurx  sculpture 
displa\ed  their  message  to  blind  e\es;  the\'  astonished  where 
the\'  should  have  inspired;  and  in  bewilderment,  the  native  sculptor 
forgot  or  misused  the  skill  that  he  had,  in  tr\ing  to  learn  an  art  that 
was  be\()nd  him,  and  copied,  not  the  spirit  of  Skopas  and  Praxiteles, 
but  the  mannerisms  of  their  pupils.  Divorced,  therefore,  from  a 
polic\-  of  nationalism,  in  the  next  generation  there  was  little  left 
for  the  native  art  of  (>vprus  but  to  sink  gradual!}'  into  a  poor  local 
fashion.  Ihe  pathetic  faces  of  dead  Hellenes  on  our  two  mumnn- 
like  sarcophagi,  1366-7,  arc  eloquent  of  the  current  neo-(  )rientalisni. 
Their  material  and  their  workmanship  are  of  T\re  or  Sidon,  not 
of  Athens. 

G.       THE  HELLENISTIC  AND  GR  A  ECO-Rf).M AN   STYLES 

Thus  Alexander's  conquest,  and  in  particular  his  annihilation  of 
T\re,  came  too  late  to  sa\e  the  nati\e  arts  of  (!\  prus.  Hencefor- 
ward all  is  clums\'  imitation  of  whate\er  Greek  st\ie  happened  to 
be  current  in  the  new  neighbouring  capitals,  .Antioch  and  .Alex- 
andria. The  vigorous  realism  of  Pergamon,  on  the  other  hand, 
fmds  little  place  here;  and  portraiture  is  attempted  but  rarelw 
Most  of  the  statues,  e\en  of  human  votaries,  fcjllow  ideal  models, 
Apollo,  Artemis,  Demeter;  only  a  few  reflect  well-known  t>pes  of 
figurines. 

138 


IHII    COLLHCTION    OF    SCULPTURE 

The  transference  of  C\priis  from  nominal  dependence  upon 
Ptolemaic  Eg\pl,  to  form  an  annex  of  the  i^oman  proxince  of 
Cilicia,  is  a  con\  enient  milestone  politically,  but  counted  for  little 
in  the  dexelopment  of  st\le.  No  precise  dates  can  be  assigned  as 
yet  either  in  the  Hellenistic  or  in  the  Ciraeco- Roman  phase.  It  can 
onl\'  be  noted  that,  b\-  the  first  centur\-  A.  D.,  portraiture  has 
become  commoner,  though  no  more  touched  with  inspiration;  and 
that,  as  time  goes  on,  some  ideal  txpes  are  affected  slightlx'  b\-  the 
portraits  of  successi\e  R(jman  Emperors.  Some  of  the  latest  work 
shows  a  remarkable  ai'(init\'  with  the  barbaric  work  of  the  {lellenized 
East,  in  Persia  and  Northern  India  (1219-22). 

V.  GUIDE  TO  THE  ARRANGEMENT  OF  THE 
SCULPTURE  CASES 

Within  these  successi\e  periods,  dilTerent  kinds  of  sculpture  were 
popular  at  difTetent  times.  In  addition,  therefore,  to  the  principal 
series,  which  is  intended  to  illustrate  the  general  characters  and 
tendencies  of  each  st\le,  smaller  groups  have  been  constituted 
to  represent  special  cults  like  those  of  Herakles,  Zeus  Ammon,  and 
the  Paphian  Mother-Goddess;  special  \otive-ofTerings,  such  as 
chariot  groups,  banquet  scenes,  domestic  animals,  and  parts  of 
the  human  bod\';  and  special  t\pes  of  xotaries  like  the  so-called 
I  emple-b(j\s.  .\  separate  section  in  tlie  Anne.x  is  reserved  for 
sculptured  tombstones  and  sarcojihagi. 

The  general  arrangement  of  the  sculpture,  therefore,  is  as  follows: 

\\'all-(^ases  2()-5o  contain  examples  of  the  [irincipal  t\pes  of 
\{ili\(.'  statuettes,  ranging  up  to  figures  <.f  ab(;ul  half  life  size; 
each  {\pc  is  grouped  in  historical  order,  to  show  the  treatment  of 
the  same  moli\'e  in  successixe  st}les. 

lloor-(  iases  Xl-X\'ll  contain  a  [larallel  series  of  lu'ads  from 
large  statues,  together  with  a  few  smaller  ligures  of  exceptional 
interest.  1  he  heads  are  arranged  in  order  of  st  \le,  with  the  s[H'cial 
object  of  illustrating  the  dexeloimient  of  lechiiical  processes  and 
the  growth  ami  change  of  artistic  com  cut  ions. 

( lent '"e-(  ^ases  .\  \'>  C  contain  colovsal  and  lile-size  statues  of 
each  principal  st\le;  tlie\-  should  be  stutiied  in  connection  with  the 
series  of  heads  in  the  lloor-(  ^ases. 

(  A'nt  re-C  lases  I )  b.  h  contain  sarcophagi  and  ot  lier  relict -sculpt  ure; 
and  (i  a  few  architectural  Iragiiu-ntN. 

Wall-Gases   51-72   in    the  Annex  contain  scul|)tured   tombstones 

130 


Tin-    COLLliCllON    Ol-    SCULP  lURH 

and  olluT  dedications,  of  xarious  periods  and  st\k's;  ihcy  arc 
arranged  to  illuslrale  the  handling  of  traditional  moti\es,  such  as 
the  lion,  the  sphinx,  and  the  ianiil}'  group,  in  successixe  phases  of 
art. 

The  Inscribed  Stone  Obiects  i8oi  IT.  remain  for  the  present  in  the 
corridor  leading  to  the  Museum  Librar>-. 


14c 


EARLY  TYPHS  OF  VOTIVE  STATUETTES 

ORIENTAL   STYLi:,   MAINLY  ASSYRIAN    INFLUHNCE 
A  BOLT  700-630   B.   C. 

AS  has  been  explained  already  (p  133),  the  earliest  phase  of  \\■^\\ 
/\  stone  sculpture  in  Cxprus  seems  to  owe  its  inspiration  Cases 
/  \  mainl\-,  though  not  \vholl\-,  to  the  art  of  Ass\Tia  in  its  third  ■^'*'  ^" 
great  period  of  ascendenc\',  from  745  to  664  B.  C  The 
finer  and  larger  examples  of  this  st\le  are  collected  in  I'loor-C^ase 
XI  and  Centre-Case  A;  but  the  small  scale  of  the  great  majorit\- of 
the  \oti\e  figures  makes  it  possible  to  bring  together  in  Wall-Cases 
2()-]i>  a  series  of  the  principal  t\pes  and  poses  sufficient  to  gi\e  a 
tair  idea  of  the  ideas  and  methods  of  this  school  of  sculpture.  The 
principal  marks  of  Ass\rian  influence  in  the  modelling  are  the 
prominent  nose,  high  cheekbones,  wide  open  e\-es  with  exaggerated 
e\elids  and  arched  exebrows,  broad  hea\\-  chin,  and  stern,  almost 
brutal  expression.  I'he  hair,  where  it  is  exposed  at  all,  and  the 
beard,  which  is  worn  long  and  full,  are  rendered  by  ro\ss  of  con- 
\enti(MTal  curls  without  an\'  indication  of  lexlure.  The  feet  are 
\er\-  broad  and  scjuare,  with  the  toes  of  nearlx    etjual  length. 


XOTARirs,     MALI-:    AND     M-.MAl.l,,     IO()I-12 

1  hese  are  the  commonest  t\pes  of  statuette  in  all  Cypriote  sanctu- 
aries. I  he  meaning  of  tin'  t\pes  t  liemsclx  es,  ;ind  the  (|uestions  of 
costume  and  ritual  which  the\-  suggest,  lia\e  airead}'  been  treated 
summaril\   on  p.   1 27-y. 

1001-5.  .\1ai.I;  \'oiarii>  Wear  a  Ioiil;  sK-rxeless  tunic  and  hea\\' 
cloak,  like  the  large  beartied  sijiues  1  >,><-■,-()  in  ( ^entre-C  lase  A. 
I  he  pointed  caji  or  htlnitt  is  nf  the  sjnie  txpi.'  as  on  these  large 
statues    anti    on    the    life-si/e    heaiis    in    iloor-(^ases    Xl-Xii; 

i.li 


Wall 

Case 

21) 


IHH    COLl.HCTION    OI      SCI' LP  TURF. 

ils  car-llaps  arc  turnotl  uii,  and  arc  only  slightly  indicated, 
riio  hair  hantis  in  a  hca\\'  mass  ludiiml  ihc  neck,  and  is  ciiiile 
conccaK'tl  in  I'ronl  h\'  the  eaiv  There  is  no  attempt  lo  render 
its  texture.  In  each  ear  of  1003  is  a  spiral  earring  of  the  same 
t\pe  as  507S  tr.  in  the  (Collection  of  Ornaments.  ()nl\'  1004  is 
bearded;  but  the  costume  shows  that  theothers  alsoare  intend- 
ed for  male  xotaries.  The  left  arm  hangs  loosel\-  b\-  the  side; 
the  right  is  slung  in  a  fold  of  the  cloak.  The  feet  are  bare. 
The  tunic  is  rendered  without  folds,  and  onl\'  the  edges  oi 
the  cloak  are  shown  in  low  relief:  but  this  simple  modelling 
was  enhanced  in  1002-3  b\'  red  paint,  of  which  man\'  traces 
are  seen  on  the  seams  of  the  tunic,  and  on  the  border  of  the 
cloak;  and  the  cloak  of  1004  has  a  hea\\'  fringe  cut  in  relief. 
H.  I  ft.  <S:]  in. -I  ft.  ()  in.  Doell,  i.,  4,  (>  (1004);  Iv,  356 
(1002);   xlii,  2()7   (1003);   Iv,    355    (1004);    I,    xlii,  2()<S   (1001); 

xxxi\-,  2  17  (1003). 

1006-7.  Ft:,M.\Li-.  \'()i  Atdi-.s  wear  a  long  foldless  timic  like  that 
of  the  men,  but  no  helmet  or  cloak.  i)n  1007,  where  the 
seams  and  borders  of  the  tunic  are  painted  red,  the  slee\es  are 
seen  to  reach  the  wrists,  whereas  those  of  the  men  end  cl(;se 
below  the  shoulder.  'I'he  hair  frames  the  forehead  in  man\' 
long  rolls,  and  falls  behind  in  a  compact  mass  to  the  shcjulders. 
Both  i()()()  and  1007  wear  a  collar  of  beads  with  a  pendant  in 
front,  and  1007  has  also  long  earrings.  I  he  p(;se  of  each 
is  characteristic  of  a  large  group  of  these  xotaries:  looO 
pla\s  a  tambourine,  like  2054-()  in  the  Collection  of  1  erra- 
cottas;  1007  holds  a  tlower  in  her  right  hand,  and  lifts  with  her 
left  a  fold  of  her  skirt  like  21C4;  compare  also  the  larger  and 
better-worked  Flower-Bearer  \2()]  in  l-loor-(Case  XI.  The 
head  of  ioo()  has  been  broken,  but  certainlx'  belongs  to  the  bodw 
Hs.  1  ft.  4  in.,  15^  in.      I^oell,  ii,  2,  ^S  (looC)). 

1,  xx\i,  ()().  (1007),  xxxii,  208  (1006). 

looH-io.  \'()rAi?i[;s  of  the  same  t\pe  as  looi-s,  but  less  carefullx' 
worked,  and  of  uncertain  sex.  The  close-fitting  cap,  howe\er, 
resembles  that  of  the  male  \'otaries  lo^)  11-  in  W'all-CCase 
31;  it  ma\  be  intended  to  represent  the  hea\  \  l{g\ptian  wig, 
which  comes  into  fashion  in  the  se\enth  centurx,  but  the  rest 
f)f  the  costmne  here  is  still  purel\'  .\ss\rian.  There  is  red 
paint  on  loio.  and  khk)  seems  to  ha\'e  been  burned,  probablx' 
in   some  accidental   lire   in   the   sanctuarw     Hs.  i  r]  in. -si  in. 

I,  xxxii,  2  1  I  ( loocS). 


142 


Case 
29 


ORIENTAL    STYLE — ASSYRIAN    INFLUENCE 

loii.  Female  Votary  in  a  more  vigorous  st\ie,  which  recalls  ^'^1' 
the  finely-wrought  figure  1262  in  Floor-Case  XI.  its  details 
go  far  to  explain  the  stiff  flat  treatment  of  1006-7.  l~he  left 
foot  is  advanced,  the  right  hand  holds  a  flower  like  1007,  and 
the  left  hand  lifts  a  fold  of  the  skirt,  like  1006  and  1262. 
Like  1262,  this  votar\'  seems  to  wear  a  cloak  over  the  tunic, 
and  a  few  simple  folds  of  its  draper}'  are  shown.     There  are 


1004 


1006 


also  traces  of  red  paint.  The  hair  is  confined  on  ihe  forehead 
bv  a  hroad  frontlet,  and  f;ills  partlv  behind  ihe  head,  jiartly 
in  four  paralK'l  locks  in  front  of  each  shoukier:  the  artist's 
intention  is  the  same  as  in  1262,  but  more  roughl\-  expressed. 
H.  Ss  in- 

1012.  Fi'.MAi.i-  Votary  fupper  jxirt  onix)  of  the  s;ime  tvpe  as 
iooC)-7  but  rather  more  adxanced  in  st\le,  with  some  attempt 
to  render  the  draperx'  b\  sIkiIIow  lines  falling  from  the  shoukier. 
Ihe  hair  seems  to  be  conlinetl  by  a  \eil,  and  there  are  large 

'43 


THE    r.OLLi:CTION    OF    SCULPTURE 

double  earrings,  apparcntl}  of  the  spiral  type  like  3088  ff.  in 
the  (Collection  of  (3rnanients.  Ihe  position  of  the  hands  is  re- 
\ersed;  the  object  held  in  the  left  hand  is  not  easil\ 
recognized.      H.  sj  in.  I,xxxiv,  21O. 

h()km:s,   H()Rm-.\U:N,   and  chariots,    1013-18 

Wall    Next    in   importance  to  the  Notaries  themsehes  come  the  repre- 

'^^    sentations  of  their  horses  and  charit)ts.     Cdiariots  for  war,  hunting, 
29  .  .  ,  . 

Uiddle    'ind  travel  were  mtroduced  mto  Cyprus  m  the  M\cenaean  Age; 

the  art  of  riding  seems  to  ha\e  followed  earl\'  in  the  Age  of  Iron. 

■A  votixe  chariot  of  stone,  on  a  much  larger  scale  than  these,  with 

four  horses,  now  in  the  CCxprus  Museum  (CMC  6000),  was  found 

in  the  sanctuarx'  of  .-Xpollo  at  Tamassos  and  was  accompanied  b>' 

a  number  of  smaller  terracottas  of  the  same  type,  but  most  of  the 

representations  of  horses  and  chariots  come  from  the  tombs,  and 

are  small,  e\en  when  the\'  are  in  stone.     The  majorit\'  are  wrought 

in  cla\';  for  example,  the  horses  2078  ff.  and  chariots  2105  ff.  in  the 

(Collection  of  Terracottas. 

1013.  HoRsr.,  saddled  and  bridled,  but  riderless.  The  head  is 
rendered  with  great  \igour,  and  the  mane  is  shown  in  relief. 
There  are  many  traces  of  red  paint  on  head,  neck,  and  bod\ . 
The  harness  is  of  .\ss\Tian  t\'pe,  with  headstall  and  fringed 

saddle-cloth  secured  b\-  a  broad  collar  and  crupper-band.  In 
front  hangs  a  large  tassel  or  flv-whisk.  Fhe  native  saddle  of 
modern  Cxprus  is  essentiallx'  of  the  same  t\pe.  The  small 
scars  on  the  right  shoulder  of  the  horse,  on  the  back  of  the 
neck,  and  on  the  bridle,  suggest  that  the  figure  of  a  groom  has 
been  broken  awaw  Similar  groups  of  horse  and  groom  are 
known,  but  are  not  common  (CMC  3301-3).  This  example 
is  probabl\-  of  the  earl\'  sexenth  centurx,  and  ma\'  be  com- 
pared with  the  horse  207()  in  the  Collection  of  Terracottas. 
H.  4  in.     L.    s;    in.  I,  Ixxx,  5  •  i. 

1014.  HoRsi-:  \\rrn  Ridlr.  The  rendering  of  mane  and  harness 
resembles  that  of  101^,  with  broad  collar  and  tasselled  head- 
stall; but  the  saddle-cloth  is  not  represented  in  relief,  though 
it  seems  to  ha\e  been  left  uncoloured  while  the  bod\'  of  the 
horse  was  coloured  red.  There  are  red  traces  also  on  the 
rider,  who  is  tlisproportionatelx'  small,  and  sits  high  on  the  back 
of  the  horse.  Such  disproportion  is  common  in  earl\-  riders 
like  209O  in  the  Collection  of  Terracottas.     The  rider  wears 

144 


ORIENTAL    STYLE — ASSYRIAN    INFLUENCE 


a  low  cap  with  deep  brim  and  broad  chin-slrap,  perhaps  in- 
tended for  a  head-dress  like  that  of  2271  lY.,  though  these 
terracotta  riders  are  of  much  later  work.  He  seems  to  have 
held  the  bridle  in  his  left  hand,  and  to  have  brandished  a 
spear  in  his  right,  which  is  broken  awaw  A  scar  on  the  right 
side  probabh'  shows  where  the  spear-shaft  touched  the  horse's 
neck.         H.  yf  in.     L.   i2|  in.  I,  512. 

1015.  Horse  with  Rider,  on  a  rectangular  base.  The  horse  sets 
both  forefeet  on  a  crouching  lion,  which  the  rider  transfixes 
with  a  spear  held  in  his  right  hand.  The  rider's  bod\-  and 
arms,  however,  are  broken  awa\',  together  with  almost  all 
the  shaft  of  the  spear.  The  horse  wears  the  same  harness 
as  1013-14,  but  more  elaborately  decorated  with  rich  fringe  and 
tassels.  There  is  red  paint  on  the  saddle-cloth  and  bridle,  on 
parts  of  the  horse  and  lion,  on  the  border  of  the  rider's  tunic, 
and  on  the  base.  The  lion's  head  and  mane  are  painted  green, 
and  there  are  traces  of  the  same  green  paint  on  the  horse's  bit. 
Compare  the  green  harness  of  the  horses  on  the  sarcophagus 
1365  in  Centre-Case  E.         H.  61 «  in.  I,  Ixxx,  51Q. 

1016.  (Chariot  with  Four  Horses,  of  clums\'  but  probabh'  early 
work.  The  horses  are  carved  in  a  single  mass,  from  which 
onl\'  their  heads  and  forelegs  emerge.  Thex'  are  harnessed  in 
two  pairs,  with  Assyrian  trappings,  to  poles  which  project  from 
the  forward  angles  of  the  car,  which  is  onh'  roughl\-  outlined. 
The  wheels  are  omitted  altogether.  The  >oke  is  represented 
as  if  it  spanned  all  four  horses;  and  the  two  occupants  of  the 
car  rest  their  hands  uselessl\'  on  its  rim  without  an\'  indication 
of  reins.  The\-  wear  the  long-slee\ed  tunic  and  are  bare- 
headed.        H.  8.}  in.    L.  8|  in.     W.  5.^  in. 

1017.  (Chariot  with  Two  Horsi-.s,  _  .  ., 
The  horses  stand  on  a  broad  flat 
base,  the  height  of  which  is  ad- 
justed b\'  a  support  on  the  under 
side,  to  accommodate  the  wheels 
of  the  car,  which  are  made 
separateh',  and  were  attached 
by  a  wooden  axle,  like  the 
wheels  of  the  cla\'  carts  2110-1^ 
in  the  Collection   of    rerracottas.                            ""/ 

The    wheels    are  solid,    but    ha\e   the   rim    and   eight    sjiokes 

145 


Wall 
Case 

2C) 

-Middle 


Tin-;  (.oi.i.iU'/noN  oi    scilpture 


Wall 

C.ISL' 

Mkidie 


painloil  in  wA.  \hvw  is  rvd  paint  also  on  the  \-oke 
and  horses,  and  on  the  drosses  ol  the  men  in  the  car.  'I'he 
horses  are  WiWv  modelled,  and  their  harness  is  rendered  in 
elaborate  detail:  it  consists  of  a  rich  headstall  and  bridle,  a 
double  neck-band,  single  girth,  and  broad  breast-band  with  a 
large  tassel  or  tl\-\vhisk  in  front,  like  that  of  1013.  The  \-oke 
is  \  ery  wide,  with  upturned  ends;  the  pole  over  which  it  is 
slung  seems  to  consist  of  a  pair  of  shafts  or  poles  like  those  of 
1016,  but  lashed  together  when  used  as  here  with  onl\'  two 
horses,  in  the  car,  which  is  open  behind,  are  two  men, 
separated  b\-  a  fore-and-aft  partition.  The  dri\er,  on  the 
right,  wears  a  foldless  tunic,  and  is  posed  as  if  he  held  the  reins 
in  both  hands.  The  other  figure  stands  erect,  resting  his  left 
hand  on  the  rim  of  the  car,  and  his  right  in  a  fold  of  his  cloak, 
which  is  indicated  with  some  care.  Both  are  bearded,  and 
ha\e  their  hair  contined  b\"  a  frontlet,  with  short  curls  below. 
H.  ()l  in.     L.  7I  in.     W.  (Wheels)  6|  in.  1,  l.xxx,  520. 

1018.  (Chariot  Wheel,  from  a  car  like  1017,  cut  solid,  but  with 
the  rim  and  six  spokes  in  low  relief,  enhanced  b\'  red  paint,  oi 
which  l"ew  traces  remain.  D.  3]  in.  I,  xxix,  i()<S. 
The  \ar\ing  number  of  the  spokes  in  these  earlv  .Mediterranean 
chariot  wheels  is  noteworth\'.  The  chariots  of  Hg\pt,  which 
are  themsehes  of  Asiatic  origin,  and  some  .Assxrian  chariots, 
ha\e  six-spoked  wheels,  as  would  be  expected  in  a  region 
which  had  long  used  a  sexagesimal  s\stem  for  dixiding  the 
circle  as  well  as  for  other  measurements.  Mxcenaean 
chariots,  on  the  other  hand,  ha\e  in\ariabl}'  four  spoked 
wheels,  derived  from  the  simple  plank-built  wheel  which 
survixed  in  the  countrx'  carts  of  classical  Greece.  The 
eight-spoked  wheel,  which  's  a  natural  derixatixe  of  this  four- 
spoked  txpe,  ranged  from  Central  Europe  to  .Xssx  ria,  xxhere 
it  xxas  in  use  side  b\-  side  xxith  the  six-spoked  txpe;  it  xxas 
knoxvn,  b\'  repute  at  least,  in  the  Homeric  .Age  of  (ireece,  for 
Homer  gixes  eight-spoked  xxheels  to  the  chariot  of  the  (loddess 
Hera.  In  Cxprus  the  four-spoked  wheel  was  introduced  h\- 
the  .Mxcenaean  colonists,  but  in  the  Later  Iron  .Age,  both  eight 
and  six  are  lound,  as  xxell  as  painted  representations  of  tixe  and 
sexen  due  to  inattention  or  careless  ilraxxing.  In  modern 
(^x'prus  countrx-  carts  are  still  seen  in  which  the  rim  of  the 
wheel  is  in  separate  sections  looselx'  bolted  together,  and  each 
supported  b\   its  own  pair  of  spokes. 

146 


ORIENTAL    STYLH  ASSYRIAN    INFLUHNCll 

MISCELLANtOLS    FIGLKHS    OF    HARL">'    ST'iI.h,    1019-22 

lou).  \\^\RRioR,  probabl\'  broken  a\\a\-  from  a  chariot  group  like 
1016-17,  for  his  kirge  roLind  shield  is  slunii;  on  his  back,  not 
carried  on  his  arm.  He  wears  the  loldless  tunic,  with  a  quixer 
slung  behind  his  let't  shoulder,  and  a  pointed  helmet  with  the 
ear-flaps  hanging  low,  for  protection  on  his  journe\'.  '1  here  is 
red  paint  on  the  lips,  helmet,  and  shield.  H.  (>  in. 

1,  Ivii,  393. 

1020.  BANQUt-;T  ScHNE,  representing  a  circular  group  of  figures, 
reclining  on  couches  which  face  inwards  around  an  open  space; 
in  the  centre  is  a  socket  intended  to  hold  an  altar  or  table  of 
offerings.  A  large  part  of  the  circular  base  is  broken  a\\a\-, 
and  only  three  of  the  couches  are  preser\ed.  On  the  first  couch 
reclines  a  bearded  man,  in  pointed  cap  and  long  tunic,  like 
the  male  \otaries  1001-5;  he  rests  his  left  arm  on  a  pillow,  and 
embraces  with  his  right  a  xoung  girl  who  sits  across  his  knees, 
in  a  long  woman's  tunic  like  1 006-7.  On  the  second  couch 
is  a  similar  man;  but  his  dress  is  of  rough  texture,  as  if  to 
represent  sheepskin  or  fur  (as  on  1031),  and  he  has  no  com- 
panion. The  third  couch  has  a  group  like  the  first,  but  the 
man  is  younger,  and  has  less  beard.  .A  sacrilicial  meal,  such 
as  is  represented  here,  formed  part  of  man\'  religious  cere- 
monies in  the  ancient  world.  I'or  the  general  composition 
of  the  groups,  and  lor  the  pose  of  the  figures,  compare  the 
bancjuet-scene  on  the  sarcophagus  1  ^64  in  (]entre-(^.ase  I), 
and  the  painted  representations  on  (Corinthian  and  other 
(ireek  x'ases  of  the  sixth  centurx'.  The  familiar  groujiing  of 
the  bancjueters  is  wholh'  in  the  Greek  manner.  In  .Assyrian 
banc|uets  the  women  sit  more  sedatel)'  and  ha\e  separate 
chairs  b\'  the  siiie  of  the  men's  couches.  Isolated  groups  of 
figures,  on  single  couches,  like  1  142-^,  in  W'all-C^ase  3(),  are 
sometimes  found  in  tombs;  the\'  are  probabl\'  to  be  interiiretixi 
as  abbre\iations  of  a  banc|uet-scene;  but  the\-  are  of  rather 
later  st\le  than  this  scene,  wlii^^h  max  be  assignetk  <in  grounds 
of  costume,  to  the  se\enth  or  sixth  centurw  and  probablx' 
comes  from  a  sanct  uarw  lor  oi  lu-r  liaiKiui't -Scenes,  see  index. 
II.  6;  in.     L.  m  in.    W.  <)i  in.     Perrol.tig.  ]()-.         I,lx\i,  452. 

1021.  HrMAN-nivADi.i)  P)i  11,  AM)  l.ioN,  rejiresented  siiie  b\'  side, 
with  their  heails  turned  a\\a\  from  each  other.  1  he  feet  anti 
hinder  jnirts,  and  one  foreleg  of  the  human-headeil  figure  are 

147 


Wat) 
Case 
3" 


THE    COLLECTION    OL    SCULFTURH 


Wal 

Casi 


dostroNcd.  riu"  purpose  of  tlio  figure  is  uncertain  :  it  ma\'  ha\e 
been  part  of  the  arm  of  a  throne.  With  the  lion  compare  the 
funerar\-  lions  i  ^"-^^  IT.  in  W'all-C^ases  S2-53.  The  other  figure 
is  winged,  like  the  himian-headed  bulls  in  .*\ss\rian  palaces, 
but  the  pointed  helmet,  with  upturned  flaps,  and  the  treatment 
of  the  beard  and  lace  are  entirel\-  (^\priote,  and  probabl\- 
of  the  sexenth  centurw  Ihere  are  traces  of  red  paint,  and 
also  faint  traces  of  black  or  green,  on  the  wing  and  neck. 
H.  1  ft.  4  in.  1,  xlii,  273. 

I.     Si-RPHNT  Cjiar.mi:r,   holding  in  each  hand  a  serpent,  the 
J.  head  of  which   rests  against 

^  his  cheek,  while  the  tail  hangs 

down  in  front   of  his   bodw 
He  wears  the  foldless  tunic 
-  with  border  painted  red,  and 

a  close-fitting  cap  on  top  of 
which  the  heads  of  three 
■/  -^  ''^^  more  serpents  project  for- 
ward, while  their  tails  hang 
down  behind.  Probablx'  this 
figure  represents  some  cere- 
monial performance,  of  which 
no  literar\-  record  has  been 
preserxed :  compare  the  small 
cla\'  figure  of  a  \i)tar\'  and 
serpent  2047  in  the  Collec- 
tion of  lerracottas.  It  is 
templing  to  compare  this  ob- 
ser\ance  of  snakes  with  the 
cult  of  the  Snake  Goddess 
at  Knossos  and  at  Ciournia  in 
Oete.  The  uraeus- snake 
1022  which    s_\mb(jlizes    I-!g\ptian 

ro\alt\'  comes  later  into 
the  decorati\e  art  of  C>'prus,  and  the  cla\-  uraeus  2132 
was  certainl\  intended  to  represent  some  C^\  priote  snake-cult. 
In  much  later  times,  the  power  to  "take  up  serpents"  with 
impunit}-  was  still  regarded  as  proof  of  di\ine  fa\our  and 
protection.  1  .Mark  x\i,  iS;  .\cts  .xwiii,  3-6.)  The  serpent- 
charmers  of  C^xprus  were  famous,  and  their  art  was  in  part 
at    least   a   famih'   tradition    (Plin\',   A'.    H.,    x\  iii,    3,    30-1). 

148 


ORIENTAL    STYLE ASSYRIAN    INFLUENCE 


Quite   recently   a    British    court    in  (^\prus   ga\e   substantial    ^y^i" 
damages  to  the  owner  of  a  lost  "snake-stone"   (Lukach  and      ^ 
Jardine,  Handbook  of  Cyprus,   191 3,  p.  246).  H.   ]6\  in. 


I,  xxxi 


209. 


FLUTE-PLAYERS  AND  MASKED  DANCERS,    IO23-3I 

The  ceremonies  of  all  C\priote  sanctuaries  were  accompanied 
with  music,  song,  and  dance.  The  commonest  instruments  were 
the  flute,  the  harp,  and  the  tambourine  or  flat  drum.  L'suall\-  the 
flute  and  harp  are  alternative,  and  not  habituall\'  found  in  the 
same  sanctuarw  But  exceptions  occur;  a  figure  of  a  harp-pla\er 
could  be  dedicated  inad\ertentl\-  at  a  llute-pla\'ing  sanctuar\',  and 
so  forth;  the  fine  harper  and  flute-pla\er  i2()4-5  in  Floor-Case  XI 1 
seem  to  ha\e  been  designed  as  a  pair;  and  on  the  engraved  bowls, 
4557,  4561,  in  the  (Collection  of  Ornaments,  flute,  harp,  and  tambou- 
rine are  shown  in  use  together. 

The  flute  used  bv  (Cx'priote  votaries,  like  that  of  classical  Greece, 
consists  of  a  pair  of  pipes,  with  reed  mouthpieces,  held  in  place  by 
a  mouth-band  which  coxers  the  plaxer's  lips,  and  is  tied  behind  the 
head:  sometimes  for  further  support  a  cross-band  passes  o\er  the 
top  of  the  head.  The  pipes,  thus  adjusted,  were  plaxed  one  with 
each  hand.  Similar  double  pipes  are  still  in  use  among  the  \illagers 
of  Palestine,  and  in  man\-  parts  of  the  (Ireek  world,  though  not  now 
(2\prus  itself. 
1023-S.     Fllte-Players,  wearing  the  same  foldlcss  tunic  as  the 

Votaries  1001-7  in  Wall-Case  29: 

1023   wears  the  ()\er-cloak  also. 

In  1023,   1027,   the  mouth-band 

of  the  tlule  is  not  shown;  in  the 

rest  it  is  rendereii  in   low   relief, 

and  in    1024   red    jxiint    is   used 

(perhaps  as  an  atterthought  )  i:) 

indicate  the  cross-band;  so  prob- 

abl\-  the  mouth-bands   of   102',. 

1027  were  originalK'  indicated  b\ 

paintetl  lines.       These  llute-iila\ - 

ers  wear  no  cap,  and  the  hair  is 

\ariousl\'     rendered:     1023     has 

'"-7 
trans\erse    coiK    with    a    sngle 

row   of   Muall    Lurls    on    the    forehead;     1024     has   a    parlint 


149 


3" 


nil-:  (:oLi.i-:(.Ti()N  of  sclilpture 

Wall  on   llu'   loroluaci;    lo^d  wears   a    wrcalli,     I'roiii    which    three 

^''^^'  poiiUeci     locks    of    hair     fall     in     front     of    each    shoulder; 

i()27-(S  ha\e  similar  plaits  both  before  and  behind,  and  1027  a 
sin<^le  row  of  curls  on  the  brow.  The  head  of  1026  is  unusuallx' 
icMig  and  narrow,  and  recalls  the  "insular"  st\le  of  earl\' 
(jreek  sculpture;  1027  has  more  strongl}-  Ass\rian  features 
than  usual,  and  is  of  a  peculiarl\'  soft  and  white  \ariety  of 
limestone,  but  is  ne\ertheless  probabl}'  of  (Cypriote  work  like 
the  rest,  and  wears  characteristic  spiral  earrings;  io2(S  already 
shows  Egyptian  inlluence,  and  should  be  compared  with  the 
still  more  Eg\ptian-looking  tlute-plax'ers  1264,  1278  in  Floor- 
Case  XII,  and  the  later  votaries,  1033  fT.  in  Wall-Case  31. 
Hs.  I  ft.  I.'  in. — 2s  in.  I^oell,  ii,  3,  34  ('1024). 

1,  .x.\i,  44,  42,  4Q,  43,  46,  47. 

The  three  figures  which  follow  must  be  considered  together.  The 
first  of  them  has  been  described  more  than  once  as  representing 
an  animal-headed  monster,  of  religious  or  s\mbolic  meaning;  but 
if  it  is  compared  with  the  other  two  it  will  be  evident  that  all  three 
belong  to  the  same  t\pe,  and  represent  votaries  wearing  animal- 
masks,  probabl)'  as  performers  in  some  religious  ceremon\'  of  which 
there  are  no  literary  records  from  C\prus,  but  man\'  parallels  in 
the  rituals  of  classical  Greece  and  other  countries.  .Animal-headed 
personages,  running  or  dancing,  are  frec]uentl\'  represented  on  the 
engraved  seal-stones  of  the  M\xenacan  Age:  compare  Perrot  III, 
fig.  370;  De  Ridder,  Catalogue  de  Clercq  {A)itiqnites  Chypriotes), 
p.  44,  note. 

1029.  Masked  Vot.ary,  certainlv  bull-headed,  though  formerlx' 
described  more  than  once  as  a  bear.  The  mask  entirelx'  coxers 
the  head  of  the  wearer,  and  is  fitted  with  a  loose  neck-cloth, 
which  lies  in  heavy  folds  on  his  shoulders.  This  cloth  he  draws 
downwards  in  front  with  both  hands,  as  though  to  hold  the 
mask  in  place.  Over  the  customary  long  tunic,  he  wears  a 
short  o\er-garment  like  a  cape,  which  seems  to  envelop  the 
arms;  for  this  perplexing  article  of  C\'priote  dress,  see  135S 
below.  On  its  border  there  are  traces  of  red  paint.  H.  S^ 
in.          Doell,  vii,  4,  221;  Perrot,  fig.  414.                    1,  xxiv,  57. 

1030.  M.\SKi:i)  X'oTARV,  certainl\'  stag-headed,  though  the  horns 
have  been  broken  away.  The  mask  shows  no  traces  of  a 
neck-cloth,  and  the  hair  and  right  ear  of  the  wearer  are  shown 
beneath  its  rim.  The  \-otar\-  is,  in  fact,  on  the  point  of  remo\ing 


ORIENTAL    STYLE — ASSYRL\N    INFLUENCE 

his  mask,  and  for  this  purpose  holds  it  in  both  hands  by  the    Wall 
muzzle.       in  this  figure  the  over-garment  does  not  envelop    ^^^^ 
the  arms,  which  are  seen  issuing  from  the  short  sleeves  of  the 
tunic.         H.  loi  in.         Doell,  vii,  5,  220.  I,  xxiv,  sO- 


30 


103 1.  Masked  X'otarv,  in  the  same  conventional  costume  as 
1029-30;  the  rough  tooling  of  its  surface  ma\'  perhaps  be 
intended  to  indicate  sheepskin  or  fur,  as  in  1020.  The  mask, 
which  seems  to  represent  a  horned  animal  (but  is  very  roughly 
rendered),  is  held  aloft  in  the  left  hand  of  the  wearer,  who  has 
just  remowd  il  from  his  head.  II.  ()\  in.  I,  Ivii,  3(Si. 


ORIENIAI.  SlYIi;,    .MAINLY    I-GYI'TIAN    INFLLTINCE, 
AHOL    I     63()-6()()    !?.    C. 

The   causes  of  the   rapid   substitution   of   I'.gxptian   for  .Assxrian    ^^-.^u 
models  in  (A'priote  art   ha\e  alread\    been  discussetl  in  the  Intro-    Case 
duction  (p.  xx.wi):  their  jirinciital  elfect^  in  sculpture  ma\'  be  brielh'    ^i 
noted  herr.      Tlu-  ruggnl  features,  jironiinenl  nose,  high  cheekbones, 
and   staring  ext'S    gixi'   jilact'  to  a    rather   narrow   jironunent    nose 
with  straif^hl  bridge,  long  almond-shaped  i'\i's  under  nearh'  straight 


THl-    C.Ol.I.l-l.l  ION    Ol-    S(  iii'irRi-: 

Wall    cNcbrows.   a  rather  short    LilC  with   full   lips,   prominent  jaw,  and 
small  pointed  ehin.     All  the  proportions  of  the  figure  are  slender 


?i 


and  graceful;  arms  and  legs,  haiuis  and  feet  are  long  and  thin; 
and  the  waist  markedlx  smaller  than  the  shoulders.  The  hair  is 
entirel\-  replaced  b\  a  dt'nse  wig  which  sits  rather  low  on  the 
forehead  and  is  rendered  with  a  smooth  swollen  surface.  I'he 
face  is  usualK  clean-sha\  en;  the  stiff  chin-lieard  worn  by  some 
Kg\ptian  kings  is  not  represented  in  C>pri()te  art ;  and  the  presence 
of  a  beard,  close  clipped,  and  often  without  moustache,  is  a  sign 
of  Cireek  influence  and  later  date. 

MGLRhS  OF  C.liMINE   EGYI^TIAN   WORKMANSHIF,    IO32-34 

\'er\  rarelw  sculptured  figures  are  reported  to  be  found  in  Cyprus 
which  seem  to  be  of  nati\e  material,  but  yet  conform  so  closeh  to 
Eg\ptian  canons  of  stvle  that  it  seems  best  to  regard  them  as  the 
work  of  Eg\  ptian  artists  resident  in  Cyprus  during  the  period  of 
its  close  connecti(jn  with  Eg\pt  under  the  XX\'I  D\  nast\'.  In 
default  of  exact  records  of  disc(.)\er\',  howe\er,  it  must  remain 
uncertain  whether  an\'  such  object  was  found  in  the  island,  not 
brouglu  o\er  more  recentlx'  from  Eg\pt. 

10^2.  \\'ki:S1li\g  I)\\  AR1-,  bending  forward  to  clasp  his  opponent, 
whose  hands,  broken  awa\'  at  the  wrist,  are  seen  gripping  the 
dwarf  round  the  \vaist.  Ihe  head  is  rendered  with  great 
\igour  and  skill;  the  ears  and  e\  es  are  rather  prominent,  and 
the  jaw  square  and  tirml\'  set.  The  disproportion  of  the  bod\' 
is  intentional,  the  artist's  clear  purpose  being  to  represent 
a  dwarf.  The  hair,  which  is  cut,\er\'  close,  in  Eg\ptian 
fashion,  was  painted  black.  The  e\es  also  were  black,  buL 
the  rest  of  the  figure  was  painted  deep  red,  like  the  male 
figures  in  Eg\ptian  paintings  and  reliefs.  This  flesh  colouring 
is  quite  foreign  to  (^\priote  sculpture,  but  recurs  in  103^  and 
on  some  classes  of  votix'e  terracottas  (CMC".  5501  if.)  The 
limestone  of  which  the  figure  is  made  seems,  howexer,  to  be 
of  the  common  nati\e  qualitx'.  H.  6J  in.  I,  hii,  364. 

!03^.  SrANDiNG  \'()TAR^'  IN  EcAi'TiAN  (^osiiMH.  The  pose  is 
that  of  an  ordinar\'  Egyptian  portrait  statue,  with  one  toot 
slightlx'  ad\anced,  and  the  right  hand  held  rather  high  across 
the  breast.  The  left  hand  fell  looselx  b\  the  side,  but  is  broken 
awa\'.  Ihe  figure  wears  the  ordinarx'  Eg\ptian  linen  kilt 
hanging  from  a  waist  belt;  it  has  the  usual  deep  told  in  front. 

Ii-2 


ORIHNTAL    STYLE MAINLY    EGYPTLAN    INFLUENCE 

Above  the  belt  the  bodv  is  nude,  except  for  two  hea\\-  necklaces  "^'aW 
and  a  massi\'e  wig  arranged  in  long  coils  hanging  from  the 
crown  of  the  head  almost  to  the  shoulders.  The  features  are 
of  strongl\'  Eg\ptian  t\pe.  The  whole  figure  is  elabcjrateh' 
painted,  the  wig,  e\es,  exebrows,  necklaces,  belt,  and  kilt 
border  being  coloured  black;  the  kilt  is  left  white;  the  llesh 
parts  are  light  red;  and  the  lips,  breasts,  na\el,  and  some 
details  in  the  kilt-border,  of  a  darker  tint  of  the  same  red. 
The  statement  that  this  figure  was  found  in  a  tomb  at  .Amathus 
ma>'  well  be  correct.  It  appears  to  belong  to  the  late  se\enth, 
or  earl}'  sixth  centurx'.  The  limestone  is  of  fine  qualilx',  but 
ma\'  be  native.         H.  4J  in.  I,  xxxiv,  215. 

1034.  Miniature  Shrinh  in  Egxptian  st\le,  with  a  cornice  of 
uraeus-snakes.  An  ibis-headed  figure  of  the  Egyptian  deit\' 
Fhoth,  crowned  with  a  solar  disc,  stands  between  two  con- 
\entional  trees,  which  form  the  door-posts  of  the  shrine.  The 
material  is  a  soft  white  limestone  with  hard  concretions  and 
flaws  of  brown  calcite;  it  is  probably  foreign  to  (Cyprus,  and 
ma\-  well  be  from  Eg\  pt.  The  surface  is  much  deca\ed,  but 
shows  traces  of  black  paint,  and  (more  obscurely)  of  red  or 
dark  brown.  H.  4^  in.  1,  l\ii,  377. 

CiPRIOTh     WORKM.ANSHII',     IMHATING     HGYPIIAN     Sl'iLH,      I035-9 

These  figures  are  clearl\'  distinguished  from  those  of  genuine 
Eg\plian  workmanship  b\-  their  hea\ier  proportions  and  ruder 
handling,  but  their  pose  and  costume  arc  unmistakable.  Thev 
stand  \er\'  erect,  with  one  leg,  usualh  the  left,  slightlx'  adxanced; 
whereas  the  figures  of  Assyrian  st\le  keep  ihi'ir  feet  together  and 
in  line.  The  l{g\plian  figures  were  unclothed  aboxe  the  waist, 
but  these  wear  a  skin-lighl  \  est  or  close  tunic  with  short  slee\es, 
which  sometimes  show  a  distinct  border.  Tht'  kilt  is  more  elabo- 
ralel\'  constructed  than  the  plain  linen  loin-cloth  of  l-.g\pt;  its 
central  fold  or  apron  is  tlal,  still',  and  often  riclil\'  embroidered, 
and  the  belt  from  which  it  hangs  has  j-ironfinenl  edges,  and  some- 
limes  a  decorated  surface  between  them.  Some  figures  (103O  and 
perhaps  io3())  wear  a  hea\\'  lyuxptian  wig;  others  (1057-^),  the 
same  pointed  helmet  as  the  Notaries  1001  If.  in  .\ss\rian  style. 

1035-0.  .\lAi,t.  \'()i,\Kii>,  in  se\eral  \arieties  of  workmanship. 
1  he  embroidereii  ajiron-lold  of  1055  shows  the  grotesc|Ue 
bearded   head   of  the   Ivgxjnian  deitv    Bes;   then   two   uraeus- 

153 


Case 
^  1 


THE  c;ollhc:tion  Ol-   scllpturh 

snakes;  then  a  horned  animal  in  a  rectangular  panel;  all  in 
well-marked  Cypriote  st\  le.  On  each  arm  is  a  double  bracelet, 
probabh  intended  to  he  of  the  same  spiral  t\pe  as  3552-3  in 
the  (Collection  of  Ornaments.     H.  14^  in.  I,  li\-,  347. 

io3().  The  kilt  seems  to  be  pleated  or  crinkled,  like  a  modern 
"crepon"  material;  but  the  artist  has  not  clearl\-  understood 
what  he  was  cop\ing.  The  shoulder-seams  of  the  close- 
titting  \est  are  shown  in  red  paint,  and  another  band  of  red 
runs  down  the  middle  in  front.      H.  12  ni  in.  I,  xwi,  70. 

1037-8.  The  pointed  cap  marks  a  further  departure  from 
Eg\ptian  models:  it  is  the  same  as  is  worn  b\'  figures  of  .Ass\ - 
rian  st\le.  In  both  the  kilt  is  \ery  obscurel\-  rendered,  and 
in  1037  it  is  perhaps  e\en  omitted,  exposing  the  skirts  (f  the 
\est  below  the  belt.  1  he  \est  of  103<S  is  coxered  with  a  pattern 
of  obliquel\  crossed  lines,  which  recalls  the  lozenge-shaped 
quilting  of  the  \ests  worn  b\'  Cypriote  statues  of  painted 
terracotta  from  Salamis,  in  the  British  Museum.    H  .  2  ft.  7^  in. 

1,  xK'iii,  2S6  (1037). 

103Q.  The  belt  has  prominent  rims,  as  in  1036,  and  the  apron- 
fold  of  the  kilt  is  plain;  probabl\-  its  original  decoration  was 
painted.  H.    61  il  in.  1,  xxxi\-,  2i(). 

MIXHD  ()R1HNT.\L  STYLE,  .ABOUT  65O-55O  B.  C. 

Under  the  combined  influence  of  the  .Assxrian  and  Egxptian 
traditions  alread\'  described,  a  .Mixed  Oriental  sl\ie  was 
rapidlv  de\eloped  in  Cxprus.  This  seems  to  ha\"e  maintained 
itself  side  b\-  side  with  its  foreign  models,  and  also  to  ha\e  out- 
li\ed  them;  passing  o\er  graduallx',  as  Hellenic  influence  became 
stronger,  into  a  C\"priote  variet\'  of  the  archaic  Greek  schools  w  hich 
flourished  in  Ionia  and  the  Greek  islands  in  the  sixth  centurw 
The  growth  of  Hellenic  influence  is  most  clearlx'  shown  in  the 
increased  obser\ance  of  the  natural  structure  of  the  human  bod\", 
and  its  customar\-  poses  and  mo\ements.  The  rigid  con\entions 
of  the  Oriental  sl\les  are  graduall\-  o\  ercome,  and  the  features 
become  at  the  same  time  softer  and  more  animated. 


.M..AL1-.     \0|  ARII.';     WliAKlNC,    "I  H  (-.     CVl'RIori-      BhLT,     IO4O-47 

These  figures  are  almost  the  onl\    record  of  a  remarkable  piece  ot 
natiw  dress,  the  close-titting  belt,  or  bathing-drawers,  which   re- 

'54 


MIXED    ORIENTAL    STYLE 

places  ihe  E^\ptian  kilt,  and  fits  closcl\-  {o  the-  bod\-  from  iho  ^^  ^i" 
waist  to  the  upper  part  of  the  thigh,  it  is  constructed  of  two  or  ,,' 
UKjre  pieces  of  cloth,  \ari(jusl\'  shaped,  and  sewn  together  with 
prominent  seams  like  those  of  some  of  the  \csts  which  are  worn 
with  it.  it  is  sometimes  richl\'  ornamented  with  panels  of  embroid- 
er\'  or  applique  work.  This  Cypriote  garment  resembles  closely 
that  which  is  worn  by  modern  acrobats,  and  (like  it)  has  been 
de\eloped  out  of  a  folded  loin-cloth  such  as  is  worn  by  many 
Eastern  peoples,  and  was  the  primitive  costume  of  the  inhabitants 
of  Crete  and  other  Mediterranean  lands  in  the  Bronze  Age.  But  it 
was  onl\'  in  (^\prus,  where  the  Bronze  Age  civilization  lasted  on 
with  less  disturbance  than  elsewhere,  that  the  folded  loin-cloth 
was  full\'  transformed,  b\'  shaping  and  trimming  its  lower  edges 
where  the\-  pass  from  front  to  back  between  the  thighs,  into  this 
close-fitting  hand-sewn  garment,  which  ma\-  be  regarded  as  a  late 
representati\e  of  a  traditional  costume  far  older  in  C.\  prus,  and 
more  characteristic  of  its  culture,  than  either  the  foldless  tunic  of 
the  .Assxrian  figures,  or  the  Egyptian  kilt  and  apron. 
Above  the  belt  these  figures  alwaxs  wear  the  same  skin-tight  \est 
as  the  preceding  group,  shaped  and  sewn  like  the  belt  itself  out  of 
two  or  more  pieces  of  cloth,  with  seams  and  borders  prominent  or 
decorated,  and  other  ornament  of  stripes  or  embroidery. 

1040-5.  .Male  X'oiarihs  with  (h'PRioTi-:  Bhi.t.  The  st\le  of  w.,|| 
these  figures  \aries,  but  they  all  seem  to  belong  to  the  sexenth  Cases 
or  earh'  sixth  centurw  With  the  exception  of  1042,  which  has  ^^'  -^' 
a  pointed  helmet,  the\'  wear  on  the  forehead  a  broad  fronthl, 
plain  or  coloured  red  (1040,  ci'.  1046  a,  b,  1047)  or  embossed 
with  rosettes  (104s,  cf.  1046,  a,  b,  1047),  which  recalls  the  gold 
frontlets  from  Eate  AUcenaean  tombs  at  Salamis,  no\N'  in  the 
British  .Museum,  and  thesimilar  AUcenaean  frontlet  ^oo2in  the 
(Collection  of  (Ornaments;  comjxire  also  tlie  life-size  frontlets  on 
similar  heads  in  lloor-Case  XI.  L'sualh  .  this  frontlet  con- 
ceals the  hair  on  the  forehead;  but  m  1041,  1044  a  single  row 
of  small  curls  is  shown.  Behiml  tlu'  ears  the  hair  falls  in  a 
hea\\'  mass  on  the  neck,  l^arrings  and  bract'lels  are  ol  the 
spiral  t\pe.  The  close-fitting  wsl  shows  cojiious  traces  of 
ornament :  broad  stripes  of  red  paint  on  1040,  1042  (isf.  io4()a; 
and  borders  of  the  same  on  lo.jt)  b.),  and  rejiresenlalions  of 
trees  or  branches,  lighth  incised,  on  1045.  Ihe  belts  ha\e 
richlv  embroidered   rosettes  and  other  ornaments,  and  show 


Wall 
Cases 
3".  ^i 

32 


THH    COLLHC.TION    OF    SCULPTURE 

man\'  ttacos  of  red  paint.        Hs.  2  ft.  4^  in.  —  6.',  in.        Doell, 
iii,  2,  73  (1041);  iii,  s,  71   (1(144);  '''.  ^^  ^^<^  (i<>45)- 

1,  XXV,  63;  xlii,  266,  271,  277;  Ixvii,  450;  xl\iii,  283. 

1046  a,  b.  Miniature  Votaries  in  the  same  st>le  and  dress  as 
i()4()-5,  but  of  unusually  small  scale  and  more  delicate  work. 
The  red  paint  is  well  preserved  on  frontlet,  vest,  and  belt. 
Hs.  5  in.,  (Sin.  Doell,  iii,  1,  7()(i046a). 

1,  li\',  34S;  xx\-,  64.  l\ii,  385. 


1047 


1045 


1047.  Bearded  Votary,  of  the  same  series  as  1040-6,  but  in  a 
rather  later  st\ie.  It  is  probabl\-  not  earlier  than  the  middle 
of  the  sixth  century,  and  should  be  compared  with  the  large 
bearded  figure  in  Eg\ptian  dress  1363  in  Centre-Case  C.  The 
beard  is  close  cut,  and  the  upper  lip  is  shaved,  in  earl\'  Greek 
fashion;  two  rows  of  curls  appear  now  on  the  forehead,  below 
the  frontlet,  and  the  rest  of  the  hair  is  drawn  backward  in 
long  tresses.  All  this  marks  the  spread  of  Greek  notions; 
but  the  ancient  frontlet,  \est,  and  belt  remain.  The  frontlet 
has  embossed  rosettes  and  daisx-Howers,  like  the  daisies 
offered  b\'  \otaries  i  167-8  in  Wall-Case  41;  and  there  are  four 
rosettes    on    the    belt.        H.  2    ft.  3I  in.        Doell,   iii,   i,  77. 

1,  XXV,  62. 

156 


MIXED    ORIENTAL    STYLE 
WARRIORS    OF    MIXED    ORIENTAL    STYLE,    IO48-53 

These  figures  belong  to  the  same  period  and  phases  of  st\le  as  Wall 
1040-7,  and  throw  the  same  light  on  the  armour  and  weapons  of  ^^^^ 
the  time  as  the  preceding  group  did  on  everyday  dress. 

104S.  Warrior,  wearing  Assyrian  pointed  helmet  (like  those  on 
the  large  heads  in  Floor-Case  XllI),  Egyptian  kilt  and  belt, 
rather  loose  tunic  or  vest,  with  its  arm-holes  level  with  the 
elbow;  its  lower  edge  seems  to  fall  over  the  belt,  but  not  so 
clearly  as  in  1052  below.  On  the  left  arm  is  a  small  circular 
shield  with  a  red  border  and  traces  of  a  central  design  which 
seems  to  have  been  a  lotos  tree.  There  is  also  a  broad  band 
of  ornament  down  the  front  of  the  vest;  and  the  borders  and 
seams  are  painted  red,  and  enriched  with  trans\erse  scratches. 
One  row  of  small  curls  of  hair  appears  on  the  forehead  below 
the  helmet.  H.  61V,  in. 

1049.  Warrior,  wearing  a  pointed  helmet  with  nose-piece  and 
cheek-pieces,  all  clearlv'  intended  to  rep- 
resent solid  bronze;  a  skin-tight  \est 
and  Egyptian  kilt,  the  apron  fold  of 
which  de\'elops  below  into  a  pair  of 
uraeus-snakes.  The  right  hand  appears 
to  be  drawing  a  sword  from  its  scabbard, 
which  hangs  under  the  left  arm  from  a 
double  belt  over  the  right  shoulder.  This 
pose  is  the  same  as  that  of  the  rude  cla\' 
warriors    2098    IT.   in    the   Collection    of 

Terracottas.      The   proportions   of   this  figure  are  unusually 
st(jut  and  muscular.  H.  lo/V,  in.  1,  xlii,  263. 

1050.  HiiAD  oi-  A  Warrior,  who  was  apparently'  leaning  or 
rushing  forward.  The  helmet  is  of  the  same  earl\-  western 
tvpe  which  is  shown  on  the  engra\ed  howl  4556  from  Idalion, 
in  thc(>)llection  of  Ornaments:  it  fits  the  licad  closely, and  has  a 
prominent  rim;  its  crest  runs  from  front  to  back,  and  falls 
in  a  long  tail  behind,  and  it  has  a  nose-guard  and  solid  cheek- 
pieces;  but  it  is  here  yvorn  far  back  on  the  head,  in  the  common 
Creek  fashion,  so  as  to  ex[iose  the  face.  1  he  lips  of  the 
wearer,  and  alternate  sc'Ctions  of  t  lu'  crest,  are  painted  black, 
and  the  helmet  is  y cljoys ,  to  repri'sciit  bron/t.'.  The  yyork- 
manship  is  careful  and  yigorous.  11.  2:]  in.        1,  Ixxxi,  334. 


1049 


C.i 


IHH    C.OI.LIX.TION    OF    SCULI'TURH 

\\  M  lo^i  Hi:An  or  A  Warrior,  of  coarser  workmanship  than  1050. 
1'Ik'  helmet,  which  fits  closeI\-  to  the  head,  and  has  the  same 
lore-and-att  crest  as  1050,  is  drawn  down  over  the  face,  into 
the  fighting  position.  It  has  no  nose-guard,  and  the  openings 
for  e\es  and  mouth  are  rectanguhir,  as  in  2100-2,  in  the  Col- 
lection of    Terracottas.         H.  4'^  in.  1,  Ixxxi,  536 

iot2.  .Xrchhr,  wearing  the  conventional  Egxptian  wig,  double 
earrings,  and  the  usual  skin-tight  \est,  with  doubled  seams, 
and  borders  rendered  in  relief.  This  tunic  is  ungirt  and  falls 
at  each  side  to  a  long  point  as  in  1358  in  Centre-Case  B,but 
in  front  it  is  cut  awa\'  so  as  to  show  a  belt  and  Eg}ptian  kilt. 
On  a  double  belt  over  the  left  shoulder  hangs  a  rectangular 
quixer,  with  its  co\er  in  place,  and  a  curved  object  which 
probabK'  represents  a  bow.  The  qui\er  seems  to  ha\e  been 
of  sewn  leather,  and  is  painted  red.  Other  traces  of  red 
appear  on   the  seams  and   border  of  the  vest.         H.  4.'  in. 

I,  Ivii,  375. 

105?.  Amazon  (?)  of  the  same  st\le  as  1052,  but  more  tinel\- 
worked.  .As  the  head,  left  arm,  and  both  legs  are  broken 
awa\',  the  pose  is  not  eas\'  to  interpret.  The  modelling  suggests 
that  it  is  intended  to  be  female,  and  it  is  pro\isionall\'  described 
as  a  fighting  .Amazon.  It  appears  to  mo\e  acti\el\'  towards 
its  left  front,  brandishing  some  object,  perhaps  the  \'er\  small 
.Amazon  shield,  in  its  uplifted  left  hand.  In  its  right  hand  is 
some  weapon,  most  of  which  is  broken  awa>'.  The  dress  is 
peculiar.  .A  skin-tight  \est,  like  that  of  1030-7,  extends  to 
the  thighs,  and  is  girt  with  a  narrow  belt.  Then  from  between 
the  thighs  a  broad  strap  with  thickened  edges  is  drawn  for- 
wards and  upwards  till  its  free  end  is  secured  in  the  belt.  It 
is  not  clear  whether  this  is  a  tailpiece  of  the  \est,  or  a  separate 
garment  adapted  from  the  Cypriote  loin-cU)th.  The  whole 
arrangement  recalls  the  dress  of  the  cla\'  figures  from  the 
.Middle  .Min(jan  sanctuary  of  Petsofa  in  Eastern  Crete  (B.S.A. 
IX,  i')o3,  PI.  ix,  x).  These,  however,  are  male.  On  each 
shoulder  the  raised  border  of  the  arm-hole  of  the  \est 
forms  a  kind  of  epaulette,  and  from  each  shoulder  hangs  a 
belt  which  crosses  the  breast,  and  disappears  under  the  t)ther 
arm;  but  there  is  nothing  to  show  what  these  belts  supported. 
H.  4I,  in.  I,  hii,  37(>. 


158 


MlXHl)    ORll-lNlAL    SIYI.H 


MALI-.     VOTAKU-.S     IN     (,K1:1,K     DRl-.SS,     10^4-58 

I  his  group  illuslratos  llic  gnuiual  adxancc  from  the  .Mixed  Oriental  "^Y'l" 
models  towards  the  more  iinitorml\-  Hellenized  phase  which  is  '^"'" 
described  as  the  Archaic  C^xpriote  st\ie.  'i'he\'  also  contribute 
in  detail  to  our  knowledge  of  costume.  Idke  the  earlier  figures 
in  l^gyptian  st\ie,  they  are  of  ver\'  long  and  narrow  proportions, 
and  put  their  left  foot  slightl\'  forward.  The  vest  or  tunic  is 
no  longer  skin-light;  it  has  short  sleexes  and  falls  a  little  below  the 
knee.  It  is  in  fact  a  \ariet}'  of  the  ionic  chiton  of  the  Asiatic 
Greeks,  which  has  followed  the  western  t\pe  (jf  crested  helmet 
(lo^o-i),  and  seems  to  have  reached  Cyprus  in  the  sixth  cenlurx'. 
C)\er  it  is  a  short  cloak,  which  is  wrapped  round  the  b(!u\-  below 
the  right  arm,  and  oxer  the  left  shoulder,  whence  it  falls  in  a  s(jlid 
mass  in  front  of  the  bod}-.  This  is  clearl}'  intended  for  the  Greek 
biiiuiiio)i,  the  ordinary  out-door  cloak  in  all  parts  of  the  Hellenic 
world.  (Compare  the  mc^re  expert  treatment  of  this  costume  in 
]()'-, ()-(:o,  which  seem  to  be  rather  later. 

10^4-7.  -MvLti  N'oTARiHS.  The  head  of  1054  has  been  broken  but 
certainl}'  belongs  to  the  bodw  Though  the  hair  follows  other- 
wise the  Egyptian  fashion,  it  falls  in  broad  plaits  in  front  of 
each  shoulder;  this  in  male  figures  is  a  sure  sign  of  Greek 
inlluence.  The  feet  are  shod  in  soft  pointed  shoes,  like  those 
of  the  fragmentar)'  cla\-  figures  1478-84  in  l-'Ioor-(^ase  X. 
There  is  red  paint  on  the  shoes,  chiton,  and  himation,  and 
the  himation  has  a  border  of  white  bands,  on  the  red  ground. 
I  he  workmanship  of  1055-6  is  rougher,  and  the  arrangt'ment 
of  the  cloak  dilYers  in  detail.  In  1057,  which  is  \er\-  rudely 
car\ed,  the  draper\'  is  n(jt  modelled  at  all,  btil  the  hem  and 
lateral  seams  of  the  tunic,  and  also  the  shoes,  are  shown  in 
red  jKiiiU.  The  head  is  separate,  and  does  not  biT)ng  lo  the 
bod\  for  certain;  for  it  seems  to  wear  llu-  Hal  frontU-t  which 
is  characteristic  of  the  figures  with  (Apriote  \csl  and  belt. 
lis.  I  fl.  ](>l  in.-     I  ft.  >,l  in.        I,  xwi,  (>S  (10S4);    xxxi,  202 

( io5()j,  204  (1055). 

1058.  lir.AKDii)  X'oiAin',  with  U|">per  li(>  sha\en,  like  1047.  The 
head-drt'ss  is  unusual,  and  seems  to  coiisisi  of  a  foKletl  turban 
eiii  u'clmg  a  round  cap  ornanieiiud  w  il  h  rings.  1  he  himation, 
drawn  imder  the  right  arm.  and  thrown  Io(mI\  o\er  the  lelt 
shoulder,    falls    in    hea\\'    sir;iin|it    folds    nearK    to   the    knee. 

150 


Case 
55 


Till-    COLl.liCl  ION    Ol-     SCULPTURl-; 

There  is  no  trace  of  either  tunii:  or  hell,  hut  it  is  possihk'  that 
the  tunic  was  represented  in  paint.  M.  1I4  in. 

ARCHAIC    CYPRIOTH    SlYLH,    WITH    WESIERN    INFLUENCES 
ABOUl    600-500   B.   C. 

\\  all  After  the  close  of  the  seventh  centurx',  the  development  of  C\'priotc 
sculpture  is  rapid  and  \igorous.  The  fall  of  Nineveh,  shortly 
beft)re  600,  the  parliticjn  of  the  Ass\rian  Empire  between  the 
iMedes  and  the  Bab\  lonians,  and  the  decline  of  Eg\pt,  which  had 
been  forciblx'  excluded  from  this  partition,  gave  opportunity  to 
the  smaller  states  of  S\ria  and  Asia  Minor  to  develop  individually 
and  apart,  just  at  the  moment  when  the  Greek  cities  of  Ionia,  and 
new  centres  of  art  and  industry,  like  (Corinth,  Aegina,  and  Chalcis, 
in  Greece  itself,  were  beginning  to  realize  their  own  creati\e  ability, 
and  to  offer  new  models  of  st\Ie  to  the  Nearer  East, 
The  dominant  tendencies  of  C]\priote  sculpture  in  the  sixth  centur>- 
are  therefore  Western  and  Greek,  and  are  best  illustrated  b\-  the 
Graeco-Eg\ptian  work  of  the  same  period.  There  is  indeed  literarx' 
evidence  that  C\priote  sculpture  was  being  exported  to  the  great 
Greek  treat)  -port  of  Naukratis  in  the  Eg\-ptian  Delta  and  imitated 
there;  and  in  the  earh'  fifth  centur\-  the  Athenian  Aesch\lus  could 
still  speak  of  the  "st\ie  of  (Cyprus"  as  txpical  of  the  age  which 
preceded  his  own.  This  Archaic  C^xpriote  st>!e,  like  all  vigor- 
ous beginnings,  includes  man\'  \arieties  of  experimental  work. 
What  is  characteristic  of  them  all  is  the  free  adaptation  of  traditional 
motives  and  processes  to  express  the  new  ideals  of  beautx'  which 
more  \i\id  obser\ation  inspired,  and  bolder  and  surer  workmanship 
began  to  realize  e\en  in  a  material  so  unpromising  as  the  Cypriote 
limestone. 

The  principal  txpes  remain  the  same  as  before;  it  is  the  treatment 
of  them  which  \aries  and  dexelops.  The  dress  is  now  uniforml}' 
Greek;  and  the  attempts  to  render  the  rich  folds  of  its  flowing 
draper}'  are  of  some  technical  interest. 

1059-60.  .Male  Votarius,  wearing  like  1054-7  '-''"-'  Greek  chiton 
and  himation,  which  show  man\'  traces  of  red  colour  The 
oblique  folds  of  the  himation,  where  it  is  draped  across  the 
bod\',  are  carefulh'  distinguished  from  the  \ertical  folds  ol 
the  chiton  which  fall  to  the  feet.  The  chiton  is  now  longer, 
and  fits  rather  more  closeh'  about  the  legs,  and  there  is  alread\' 
some  attempt  to  express  the  contours  of  the  limbs  beneath 

160 


ARCHAIC    CYPRIOTH    STYLH 

it.  The  hands  of  1059  are  extended  in  an  expectant  attitude; 
and  in  1060  the  long  shoulder-locks  and  free  treatment  of  the 
hair  are  thoroughly  Greek.  The  pointed  cap  of  1059,  on  the 
other  hand,  seems  to  be  imitated  from  the  old  natixe  head- 
dress; it  has  now,  however,  no  ear-flaps.  H.  i  ft.  7  in. 
1060.  The  prominent  modelling  of  the  breast  gi\cs  at  first 
the  impression  that  the  figure  was  intended  to  be  female; 
but  the  dress  is  certainly  that  of  a  man,  and  this  peculiar 
modelling  will  be  seen,  on  comparison  with  1351  in  Centre- 
Case  A,  and  many  similar  figures  of  this  period  in  other  collec- 
tions, to  be  characteristic  of  the  Cypriote  st\le.  H.  i  ft. 
5I  in.  .  1,1,  294;  XX,  39. 


Wall 
Case 
33 


1061.  .VIaij:  \'oi.\ky,  with  a  \  er\-  high  peaked  cap  (willi  ear-llaps 
obscurely  shown),  Creek  chiton  descending  onl\'  to  the  knee, 
and  a  cloak  worn  not  like  a  himalion.  but  shawl-fashion  oxer 
b<jth  shoulders,  so  that  both  ends  fall  in  formal  folds  to  the 
waist  The  hair  hangs  knv  in  front  of  the  ears,  and  three 
long  tresses  are  brought  forward  on  to  ea^Ji  shoulder.  I  he 
modelling  of  the  features  and  draper\-  is  much  in  adxance 
of  1039-60,  and  ma\'  be  ascribed  to  llie  lalle'r  part  of  the  sixth 
century.  11.  i  ft.  =,1  in.  i)()i.-ll.  iii,  ^,  7().         1,  xlii,  274. 

1062.  .Mali-:  Voiaky,  wearing  chinm  and  himation,  and  the 
customary  tri}ile  locks  of  hair  on  each  shoulder.       1  he  hands 

i()i 


34 


1HH    COLl.liCnON    OV    SCLLPTLRH 

^^  ■'"  ha\o   boon    bmkcn,    but    corlainlx'   belong   to   the  ti,mire.     On 

".,  iIk'  forehead  is  a  wreath  of  lea\es,  and  in  the  right  hand  a 

small  branch  with  foliage.  This  "liislral  spra\"  is  \er\'  com- 
mon among  Notaries  of  the  Cireek  period,  from  the  sixth  eenturx' 
onwards:  it  is  beliexed  to  ha\e  been  used  for  sprinkling  the 
worshipper  and  his  otTerings  with  water;  compare  the  "bunch 
of  hx'ssop"  which  is  prescribed  as  a  sprinkler  in  the  Jewish 
ritual.  The  lea\es  are  often  like  those  of  the  ba\'  tree,  w  liich 
was  sacred,  in  Cjreek  lands,  to  .Apollo.  .-\  large  example  of 
this  "lustral  spra\"  (i  i  yq)  is  exhibited  in  Wall-Case  40.  1 1. 

I  ft.  lOj  in.  Doel,  iii,  7,  78.  1,  Ix\ii,  44O. 

As  the  .Archaic  C\pri(jte  st\le  dexelops,  Cireek  intluence  predom- 
inates, both  in  costume  and  attributes,  and  in  the  treatment  of 
features  and  draperw  The  rendering  of  the  hair  is  especialh' 
\aried  anil  instructi\e,  and  should  be  compared  with  the  series 
of  large  heads  1270  tT.  in  Floor-C^ase  Xill. 

Wall    io6^-T.     Al.ALE  \'(rr.\RiHS,  wearing  chiton  and  himalion.     In  1063, 
'.^^  as  in    1061,   the  chiton    falls  onl\'  to  the   knee.      Besides   the 

oblique  folds  of  the  himation,  alread\'  well  understood,  a 
second  set  of  folds  appears  now,  falling  from  the  left  shoulder 
as  far  as  the  breast.  The  hair  is  \'ariousl\'  treated;  in  io()]-4, 
there  are  short  curls  all  o\-er  the  head,  a  later  fashion  than  the 
broad  bands  and  triple  plaits  of  i()6s.  which  go  out  of  xogue 
some  while  before  500  B.  C.  The  red  band  on  the  forehead 
of  1065  probabl\'  represents  a  frontlet,  and  that  on  the  neck 
of  io()4  a  necklace:  this  free  use  of  paint  for  solid  ornaments, 
as  well  as  for  textile  borders  and  flat  patterns,  is  not  common 
before  the  end  of  the  sixth  centurw'  The  feminine  proportitins 
of  1065  are  noteworthw  but  the  dress  and  pose,  as  well  as  the 
features,  are  certainlv  intended  to  be  male:  compare  loOo 
above.  Reall\'  female  x'otaries  such  as  loSo-s  are  easil\' 
distinguished;  and  in  sanctuaries  of  goddesses,  such  as  those 
at  Idalion,  are  in  the  same  oxerwhelming  majorit\'  as  the  male 
figures  in  this  (Collection,  which  consist,  as  alreadv  noted 
(p.  1251,  mainl\-  of  the  contents  of  two  sanctuaries  ot  a  male 
deit\-,  .Apollo.  Hs.  1  ft.  3  in.  —  j\  in. 

1.  liv,  330  (io()3);  lx\ii.  4^S  (  1064"). 

'Vet  in  a  countr\-  shrine  at  l.e\  koniko  exca\  ated  for  the  C>  prus  .Museum 
in  lyi  5,  red  paint  is  copious  on  statuettes  of  the  Oriental  st\les  as  \\\11. 

162 


34 


MATURE    CYPRIOTE    STYLE 

MATURE   CYPRIOTE    STYLE    UNDEIR    GREEK    INFLUENCE 
ABOUT  500-430    B.  C. 

The  figures  which  follow  seem  to  belong  to  the  earl\'  part  of  the    Wall 
fifth  centurv.     The\-  show  even  more  complete  predominance  of   ^'^^^ 
Greek  style  than  their  predecessors,  and  should  be  compared  with 
the  large  heads  of  contemporar\-  work  1295-9  in  Floor-(~ase  Xl\'. 
Ikit  the  workmanship  becomes  weaker  and  more  inexact,  almost 
in  proportion  as  it  aspires  to  Hellenic  freedom. 

106O.  Male  Votary  holding  a  Kid.  The  dress  is  not  very 
clearl\'  rendered,  but  seems  to  consist  of  (i)  a  short  chiton  and 
(2)  a  cloak  arranged  shawl-fashion  as  in  1061,  with  its  ends 
confined  b\'  a  belt.  Below  the  waist  the  artist  seems  to  have 
been  confused  b}'  memories  of  an  Eg\ptian  kill.  The  head, 
which  is  separate,  and  does  not  belong  to  the  bod\-,  shows 
the  hair  in  many  small  curls,  as  in  1064. 

The  kid  is  one  of  the  commonest  of  votive  offerings,  and  is 
frequenth'  represented  both  in  sculpture  (1162,  1179)  and  in 
terracotta  (2037,  2041,  2063).         H.  \(>\  in.  I,  .xvi,  23. 

1067.  Male  Votary,  wearing  chiton  and  himalion.  The  hair 
is  drawn  forward  from  the  crown  of  the  head  in  straight 
locks  which  end,  beneath  a  narrow  fillet,  in  one  row  of  small 
curls.  This  is  the  CJreek  fashion  in  the  \ears  immedialel\' 
preceding  the  Persian  Wars,  490-480  B.  C  H.  2  fu  2}  in. 

I,  lx\ii,  449. 

!o68-().  .Male  Votaries  holding  Birds.  Both  wear  chiton  and 
himation;  but  the  chilcjn  (1069)  is  represented  as  made  of  the 
crinkled  material  which  became  popular  all  over  the  Cjreek 
world  about  500  B.  (1  It  was  made  b\'  weax'ing  the  linen 
fabric  under  varying  tension,  in  the  same  wa\'  as  modern  crepon 
fabrics.  Similar  crinkled  linens,  often  of  fine  muslin  qualit}', 
are  still  made  b\-  the  peasant  women  in  (^xprus  and  in  most 
parts  of  the  Greek  world,  and  are  commonly  worn  by 
both  sexes,  '["he  frontlet  of  leaves  which  is  worn  b\-  both 
figures,  is  often  seen  in  (ireek  \ase-i")aintings  of  this  period. 
The  \()live  birds,  probabK'  do\es  or  i^igeons,  like  the  larger 
birds  I  !(')3-6  in  \\'all-(^ase  40,  are  held,  as  usual,  by  the 
wings;  which  in  106S  are  all  that  are  left.  The  small  covered 
"incense  box"  or  pyxis,  which  each  figure  holds  in  the  left 
hand,  is  of  a  kind  which  is  common  in  (>\4iriote  sculpture  from 

163 


THH    COLLliCTION    OF    SCULl'TURH 


Wall 

Case 

54 


Wall 

Case 

35 


the  hegiiiniiig  ol  the  tilth  Lontiir\'  onwanis.  The  right  hand 
of  i()()()  hohls  a  Uistral  spra\',  like  loO:;.  Larger  examples 
of  the  p\xis  (ii()()-i)  and  spra\'  (1139)  are  shown  in  Wall- 
Case  40.  H.  2  ft.  T4  in.,  2  ft.  'I  in.  I,  lx\ii,  451-2. 

1070.  Fll' ri-.-Pi.A'iHR,  in  chiton  and  himation  like  the  rest  of  this 
group  of  figures.  The  mouth-band  and  suspender  of  the 
double  tlule  are  clearl\  shown,  and  coloured  red,  and  there  is 
red  paint  on  the  shoes  and  on  the  border  (jf  the  chiton.  This 
figure  probabl)'  belongs  to  the  \cars  about  500  B.  C~.,  and 
should  be  compared  with  the  earlier  flute-plavers  1023-8 
in  Wall-C^ase  30.  H.  Qi'e  in.  1,  xxi,  48. 

1071.  .Malii  Votary-  in  Franhlling  Dress  (?).  If  a  chiton  is 
present  at  all,  il  must  be  conceived  as  \er\'  short  and  close- 
fitting.  The  himation  is  worn  shawl-fashion,  oxer  both 
shoulders.  Though  the  figure  is  male,  the  proportions  of  the 
bust  are  feminine.  0\er  the  left  shoulder  are  slung  a  bow 
and  a  tlask  or  bag,  which  hang  behind  the  elbow,  and  in  the 
left  hand,  which  is  slightl\-  advanced,  are  sexeral  objects, 
among  them  a  sword  and  a  qui\er.  The  left  leg  is  thrown  well 
forward  as  if  the  figure  were  on  the  march,  and  it  is  pt)ssible 
that  the  figure  was  dedicated  in  connection  with  some  journey. 
For  the  pose  and  dress,  compare  the  earlier  figure  loOi  in 
Wall-C^ase  33,  and  for  the  equipment  the  large  statue  1358  in 
Centre-Case  B.  H.    i    ft.  4  in.  1,  xlii,  272. 

1072.  .Male  \'otar^'  holding  a  Bird,  of  which  onl\'  traces 
remain.  The  rendering  of  the  chiton  and  himation  is  unus- 
uallx'  careful,  and  their  different  textures  are  well  expressed. 
The  head,  though  separated,  certainl\'  belongs  to  the  bod\'; 
it  shows  the  hair  drawn  forward  as  in  1067  under  a  wreath 
of  lea\es,  but  ends  in  two  rows  of  curls.  Behind  the  head 
it  is  turned  up  and  confined  hv  the  wreath,  in  a  fashion  which 
is  characteristic  of  the  earlx'  fifth  centurx'  in  Greece.  There 
is  red  paint  on  the  e\es  and  lips.  The  feet,  which  wear  buckled 
shoes,  stand  on  a  rough  stjuare  base,  and  are  not  separated  like 
those  of  the  sixth  centur\-  figures.  H.  2  ft.  3^  in. 

1,  cxi\-,  813. 

1073.  .Mall  X'oTAR^' HOLDING  A  Bird.  He  wears  onl\  the  crinkled 
chiton,  which  falls  smoothl\-  to  the  feet,  with  a  lew  simple 
folds  below  the  waist.  The  right  hand,  which  holds  a  lustra! 
spra\-,  like   io()0,  is  raised  nearl\-  to  the  shoulder  instead  of 

1O4 


Wall 
Ceases 


MATLRH    CYPRIOTE    STYLE 

being  extended;  a  mark  of  renewed  timiditx'  or  incompetence 
in  the  artist.     There  are  manv  signs  of  red  paint.  H.  i  ft. 

6:]  in.  I,  cxi\-,  (Si 4. 

i074-().      .Male    X'otaru-.s   in    chiton    and    himation:    1075-6  hold 

birds.  The  chiton  shows  a  band  of  embroiderv  down  the  out-  33, 36 
side  of  the  sleeve:  flat  border  (1074);  zigzag  (1075);  ke\-fret 
in  red  paint  (1076).  The  seated  bird  of  1075  (of  which  only 
the  tail  remains)  should  be  compared  with  the  Priest  with 
a  Dove,  1331  in  Centre-Case  A.  Hs.  2  ft.  I  in.  —  i  ft.  2-4in. 
Doell,  iv,  7,  91  (1076).  I,  Ixvii,  447;  Ixvii,  444;  Ixvii,  445. 

1077-0.  HhADS  ()[•  .Malh  V'orARiHs,  in  the  same  st\ie  as  the 
preceding  figures,  but  on  a  rather  larger  scale.  The  "  feathered" 
treatment  of  the  exebrows  o(  1077  recalls  that  of  the  archaic 
terracottas  1453-4,  1457  in  |-door-C>ase  .\,  which  are  of  much 
earlier  date,  and  the  large  stone  head  1280  in  Idoor-Case  XIII, 
which  is  more  nearlx'  contemporarw  The  pointed  cap  with 
flexible  brim  and  side  tlapsof  I07<S  seems  to  be  a  late  variety 
of  the  (jld  natixe  head-dress  worn  b\-  looi  ff.  The  prominent 
ncjse  and  tlal-frontetl  e\  es  of  io7(S  are  \er\'  characteristic  of 
the  first  stages  of  decadence,  in  the  fifth  centurw  Hs.  6^ 

in. — 5',  in.  1,  Ixxxi,  530    (i07<S). 

B\'  this  time  the  native  C\'priote  school  (T  sculpture  had  come 
into  contact,  perhaps  e\en  into  competition,  with  the  great  marble- 
working  sculptcjrs  of  .Athens,  in  the  period  of  splendid  activity 
which  follows  the  repulse  of  the  Persian  inxasions.  .\  \er\'  few 
actual  exanijiles  of  this  Creek  marble  sculpture  ha\e  been  found 
m  (]\prus;  n(.)tabl\-  a  fine  nude  figure  of  a  xoung  man,  from  Poli, 
now  in  the  Pjritish  .Museum,  a  charming  piece  of  work,  imported 
probabl\'  in  the  first  \ears  of  Panhellenic  enthusiasm  and  com- 
mercial enterprise,  which  followed  t  he  cr(t\\ning  \  ictorxof  the  (ireek 
fleet  at  the  luirvniedon  Ki\er  in  4()<)  H.  C.  But  this  outburst 
of  acti\it\-  was  brief.  I  he  disastrous  defeat  of  the  Athenian 
expedition  to  I{g\pt  (4()o-454  P>.  C.)  and  t  iu'  attacks  of  jealous 
ri\als  at  home,  caused  a  general  check  to  (ireek  enterprise  in 
I  hr  I  ,r\  ant ,  anti  from  441)  to  4  10  (  A  [M'us  was  left  once  more  to  itself. 
P)Ut  m  tlu'  iiro\mce  of  art  the  mischief  was  alri-adv  done.  (A41- 
riotf  sculptors  turned  from  iink  pendent  efforts  to  tasteless 
and  iHT\'elcss  imitation,  which  the  nationalist  n.'\i\al  leil  hv  \i\i\- 
goras  of  Sa  la  mis  '410  W.  (  '..)  came  t<  10  late  to  restrain. 
1  he  series  of  .Male  Votaries  can   oe  interrupted   therefore  at   this 

165 


THE    (.OLLHCTION    OF    SCULPTURE 

^'^"    point,  to  admit  tiiscussion  oT  other  t\pes  of  archaic  C\-priote  work. 
',^,    It  is  resumed  at   i  177  in  Wall-Case  38  to  illustrate  the  further  de- 
cline of  the  nati\e  st\le.  and  its  replacement  hv  ordinar\'  Hellen- 
istic sculpture,  in  the  centuries  after  .Alexander's  conquest. 

MINOR  l"VPi:S  OF  CVPRIOTH  SCULPTURE 

REPRESENTING  ALL   PERIODS   FROM  .\BOUT  7OO  TO 
ABOUT  450  B.  C. 

Wall  Besides  the  male  votaries,  who  occup\'  Wall-Cases  29-33,  several 

(^ases  other  t\pes  of  sculpture  were  commonl}'   dedicated    in   C\priote 

upper  sanctuaries.     Of  these  the  most  important  are  the  female  votaries 

part  1080-S,  sphinxes  and  harpies   1086-90,  representations  of  Herakles 

,     "^'    and  his  attributes  I(h)2-i  1  13.  kriophoroi  and  other  shepherd-deities 
lower  .  /  .  ^ 

part     ■  '  M"-''.  sat\TS  1  12  1-3. seated  deities  and"nursmg  mothers"  1  124-32, 

recumbent  \otaries  i  142-4.  hounds  and  other  \otive  animals 
1  14t-t^.  and  fragments  of  large  statues  showing  \arious  kinds  of 
\oti\e  otierings  and  other  attributes.  Examples  of  these  are  ar- 
ranged here  in  short  series,  so  as  to  illustrate.  b\'  the  \ariet\  of 
the  stxies,  the  limits  of  time  within  which  each  kind  of  offering 
can  be  shown  to  ha\e  been  in  use. 

FL.MALH   \OT.\RIES  OF   ARCHAIC  AND  .MATURE  STYLE,    I080-5 

Wall     1  hese  female  figures  succeed  the  Oriental  t\pes,   1006-12,  alreadx' 
Case    described  in  Wall-Case  2q,  and  represent  the  same  periods  of  time 
\|.   and  phases  of  stxie  as  the  male  \otaries  1058  IT.  in  Wall-Cases  32-33. 
part    T  he\-  are  distinguished  from  the  male  figures  b\- their  dress  and  head- 
gear, and  b\-  the  attributes  which  the\'  carrw  usuallx'  either  a  flower 
or  an  offering  of  fruit.     When  the\'  make  music,  it  is  with  the  l\re 
(1085).  or  the  tambourine,  not  with  the  flute,  at  all  events  in  the 
cults  represented  in  this  Collection. 

1080.  Fl(^whr-Bearer.  of  rather  archaic  st\le,  wearing  onl\'  a 
single  foldless  garment  which  falls  to  the  feet,  like  the  dress 
of  the  earlier  Oriental  figures  1006-12;  it  has  slee\es  to  the 
wrist  and  traces  of  red  on  the  forehead,  beneath  a  plain  band; 
large  side-locks  co\er  the  ears.  Ihis  treatment  of  the  hair 
is  in  accord  with  Greek  fashion  in  the  latter  part  of  the  sixth 
centurv.  The  left  hand  hangs  b\-  the  side;  the  right  hand 
holds  a  flower  (much  damaged)  in  front  of  the  breast. 
H.  I  ft.  I  in.  I,  xxvi,  67 

166 


MINOR    TYPES 

iu8i.     Flower-Bearer,  of  rather  later  st>ie,  wearing  the  same   '^)3.\\ 
sleeved  undergarment  as  1080,  but  caught  up  b\-  a  girdle  so      ' 
as  to  hang  in  a  deep  fold  before  the  breast.     The  left  hand   upper 
lifts  a  fold  of  the  skirt,  so  as  to  expose  the  feet,  which  are  shown    P^""^ 
to  wear  pointed  shoes.     This  pose  recalls  that  of  Greek  votive 
figures  of  about   500  B.  C.     The  hair  is  dressed  as  in   1080, 
but  more  tightly,  so  that  the  ears  are  exposed.         H.  7-2-  in. 

1082.  Flower-bearer  (?),  of  maturer  style,  with  well-modelled 
features  which  are  unusuallx'  sharpl\'  defined,  and  betray 
the  influence  of  contemporary  work  in  claw  Over  the  long- 
sleeved  undergarment  a  cloak  like  that  of  the  male  votaries 
hangs  from  the  left  shoulder;  but  the  details  of  the  drapery 
are  obscure.  The  head-dress  is  elaborate  and  characteristic. 
A  kerchief  is  tied  round  the  head  in  three  horizontal  folds, 
rising  to  a  peak  behind,  and  open  above,  so  as  to  show  the 
mass  of  hair  within.  This  is  in  accord  with  Greek  fashion 
in  the  earl\'  fifth  centurw  In  front,  small  curls  escape,  below 
a  narrow  frontlet,  from  which  a  single  leaf  rises  on  each  side. 
Rich  jewelr\'  is  usual  on  figures  of  this  st\le:  flat  circular 
earrings;  a  slender  close-fitting  collar  with  one  pendant,  and 
below  it  a  looser  and  much  richer  necklace,  with  eleven  pen- 
dants at  interxals;  compare  3^87  fT.  in  the  (Collection  of  Orna- 
ments.    Onl\-  the  upper  part  of  this  figure  remains.     H.  8  in. 

1,  Ixvii,  437. 

1083.  Fruii-Bearer.  The  dress  ncnv  consists  of  a  xoluminous 
and  closel\-  folded  undergarment  held  together  m  Greek 
fashion  hv  a  series  of  clasps  on  the  upper  arm  from  the  shoulder 
to  the  elbow:  it  ma\'  be  an  ()pen-slee\ed  variet\'  of  the  old 
Oriental  undergarment,  but  is  more  probablx'  meant  f(jr  an 
"Ionic"  chiton.  Over  it  is  worn  a  hea\\'  cloak  like  that  of 
the  earlier  men;  it  jirobablx'  represents  the  ordinar}'  Greek  hi- 
mation.  A  deep  fold  of  this  o\er-garment  is  supported  on  the 
left  forearm  and  filled  with  fruit.  The  right  hand,  which  rests 
on  this  offering,  has  a  single  bracelet  on  the  wrist.  The  head 
is  detached,  and  does  not  belong  to  the  bod\'  for  certain: 
the  head-dress  is  of  the  same  t\pe  as  1082,  but  the  frontlet 
is  broader,  and  shows  a  row  of  rosettes  in  relief.  In  addition 
to  the  flat  circular  earrings  of  1082  there  is  a  fourfold  spiral 
in  the  upper  lobe  of  each  vjv.  It  is  from  figures  of  this  type 
that  the  use  of  these  spir;il  ornaments  has  been  learned,  com- 
pare 333O-80  in  the  (^(jllection  of  Ornaments.       H  i  ft.,  3.1  in. 

1,  Iwii,  439. 

1O7 


THH    COLLECTION    OF    SCLLl'TURH 

\\  all    1084.     Flowkr-Bearer,  of  rather  later  style.    The  details  of  the 

'  ^  draper)'  already  begin  to  be  neglected,  and  defective  modelling 

upper  is  supplemented  b>"  copious  use  of  red  paint.     Note  in  particu- 

P'^'^^  lar  the  painted  bands  and  concentric  circles  on  the  head-dress, 

which  is  of  the  same  fashion  as   1082-3.      i'iyc  necklaces  are 

shown,  two  in  relief,  with  man\-  pendants,  like  3  399,  and  three 

in  paint  onl\-.     The  left  hand  raises  a  fold  of  the  undergarment, 

as  in    1081.      The  head  is  detached,  but  seems  to  belong  to 

the  bod\'.         H.  I  ft.  -jl  in.       Doell  i,  1,  27  1,  Ixvii,  440. 

1085.  Lyre-Player,  wearing  the  same  sleeved  undergarment  and 
cloak  as  1082,  with  rich  necklaces,  partly  rendered  in  red  paint. 
There  is  paint  also  on  the  draperw  The  left  arm  supports 
a  lyre  of  Greek  form,  which  is  pla\ed  with  a  large  plectrum 
in  the  right  hand.  The  head  is  detached,  and  does  not  seem 
to  belong  to  the  body,  but  is  of  conformable  st\le,  with  ker- 
chief head-dress  and  rich  earrings.  From  the  flat  circular 
earring  a  long  pendant  hangs  nearl\'  to  the  shoulder:  this 
marks  a  rather  later  date,  not  earlier  than  the  middle  of  the 
fifth  centur\-.  Actual  earrings  of  this  st\le  and  date  are 
e\ceedingi\'  rare  —  3381  is  an  example,  in  the  Collection  of 
Ornaments — but  their  form  is  well  known  from  female  heads  on 
the  contemporarx'  coins.  This  figure  represents  the  latest 
phase  of  the  mature  nati\e  st\ie.  It  is  multiplied  in  hundreds 
in  the  great  sanctuaries  of  the  "  Paphian  Goddess"  at  Idalion 
and  elsewhere,  and  seems  to  have  remained  in  vogue  almost 
without  change  till  it  was  superseded,  after  300  B.  C.,b\'  Hellen- 
istic models.  These  new  t\pes  are  exhibited  in  Wall-Cases 
48-50,  and  described  under  1238-49  below.         H.   i  ft.  2^  in. 

1,  lx\  ii,  441. 

SPHINXES,    harpies,    AND   OTHER   WINGED    FIGURES,    1 086-9 

W3II    The  Sphinx  was  a  regular  attribute  t)f  .Apollo  among  the  CJreeks, 

Case    and  is  therefore  commonh'  found  among  the  \'oti\e  offerings  at 

^      his  shrines:  at   Delphi,  for  example,  a  great  sphinx  on  a  column 
upper  .  ^  ^     '       !->  ^ 

part  dedicated  b\-  the  people  of  Naxos  stood  in  a  central  place  below 
the  temple  terrace.  In  Greece,  the  artistic  form  of  the  Sphinx, 
a  winged  and  woman-headed  lioness,  was  easilx'  confused  with 
that  of  the  Harp\',  a  woman-headed  bird  which  is  figured  on  earl\' 
monuments  carrxing  off  the  souls  of  the  dead:  and  it  is  probahlx' 
through  some  such  association  of  thought  that  the  Sphinx  comes  to 

1 08 


Case 
36 


MINOR   TYPES 

be  a  frequent  symbol  on  tombstones    (as  in   Wall-Cases  66-68);    ^) 
and  on  objects  of  tomb  equipment.     The  Siren  is  another  woman- 
headed  bird,  not  easily  distinguished  from  a  Harpy,  but  she  en-   {ipper 
chants  men's  bodies,  as  the  Harpy  steals  their  souls.  P^""^ 

In  C\prus  the  Sphinx  appears  first  on  painted  vases  of  the  same 
.M\cenaean  style  as  the  chariot-vases  436-7  in  Floor-Case  1 1 1  ; 
it  is  found  rarely  on  engraved  seal-stones  of  the  barbaric  Early  Iron 
Age;  and  then  reappears  in  the  sixth  century  as  an  early  symptom 
of  the  influence  of  Greek  ideas.  The  examples  now  to  be  described 
range  from  the  Archaic  Cypriote  style  to  Hellenic  work  of  the  fourth 
century  or  later. 

1086.  Sphinx,  seated.  The  head,  which  is  turned  to  the  left, 
resembles  that  of  the  female  votaries  of  the  later  sixth  century 
(1080  IT.)  with  flat  circular  earrings,  rich  necklaces,  and  three 
long  locks  of  hair  in  front  of  each  shoulder,  a  common  Greek 
fashion  for  both  sexes  at  that  time,  but  not  usual  for  women 
in  C\'prus.  There  is  some  Greek  influence  also  in  the  modelling. 
Red  paint  is  used  copiousl\'  to  supplement  sculpture  in  the 
necklaces  and  wings.  The  fore  part  of  the  Sphinx  stands  free, 
but  the  legs  and  hind  quarters  are  rendered  in  high  relief 
against  a  background.  The  figure  probabl}'  formed  part 
of  a  funerarx'  stele  like  1410-13  in  Wall-Cases  66-8.  Its 
date  is  about  500  B.  C.         H.  i  ft.  |  in. 

I,  cvi,  694. 

1087-9.  Sphinx  supi'ORTing  a  Bowl.  This  t\'pe  of  votive 
offering  has  been  found  on  more  than  one  sacred  site  in  C)'prus, 
and  also  occurs  rareh'  in  tombs  o\'  the  earlx'  fifth  or  late  sixth 
centurw  The  sphinx  is  seated,  as  usual,  and  looks  straight 
in  front;  on  its  head  and  on  the  lips  of  the  wings  is  poised  a 
shallow  bowl,  jierhaps  intended  to  hold  incense  or  drink  off"er- 
ings.  The  wings  are  rendered  in  archaic  (ireek  fashion,  with 
the  fi'athers  curled  spirall\'  upwards  and  forwards.  On  the 
head  is  a  high  (jreek  polos  or  a  mural  crown,  with  short  curls 
below  il  on  the  brow,  and  rich  spiral  earrings.  The  three 
examples  differ  slightK'  in  detail:  1087  is  ol  the  common  lime- 
stone, ;ind  shows  onl\'  slight  traces  of  colour;  io88-(),  on  the 
fjther  hand,  are  of  a  softer  chalky  stone,  which  has  suffered 
much  from  damp.  io8()  wears  a  necklace  with  one  jiendant, 
and  retains  man\'  traces  of  brilliant  colouring  in  reil,  wllow, 
and  black.  lis.  9  in. — 2\  in.  I,  cvi,  693,  692,  ()9i. 

i6() 


THH    COI.LHCTION    OF    SCULPTURE 

^^•t'i     i(H)().      IIakp^-,  or  SiRi-.N,  stamlintj;  fuU-faLe,  with  human  hod\-  and 

"  ,^  legs,  ciuilo  nude.      Slio  raises  both  hands  in  a  gesture  of  niourn- 

uppor  ing,  and  seems  to  tear  her  hair,  which  falls  in  hea\\'  masses 

part  round  her  head.      Behind  the  arms  rise  large  wings;  and  below 

these  an  almost  shapeless  mass,  which  seems  intended  for  a 

bird's  b()d\'  and   tail,   descends   behind   the  feet.     There  are 

nian\' traces  of  red  paint.  H.  i  ft.  i  in.  I,  Ivii,  368. 

1091.  \\'iN(~,i;D  .Mali-:  Figure,  perhaps  Fros,  in  coarse  plump 
modelling  later  than  the  f()Urth  centur_\-;  with  wings  of  the 
late  naturalistic  t\pe  in  which  the  feathers  are  arranged  in 
straight  rows  directed  backwards.  The  head  which  was 
attached  dt)es  not  belong  to  the  bod\'  and  has  been  removed. 

«  The  arms,  which  are  missing,  seem  to  have  been  thrown  for- 
ward in  a  gesture  of  greeting,  but  there  is  a  scar  on  the  front  of 
the  bod\',  as  if  one  hand  had  rested  there.  Oxer  the  left 
shoulder  falls  a  loose  band  or  sash  which  disappears  beneath 
the  right  arm;  it  probabh'  supported  a  qui\er  behind  the 
left  shoulder.  The  legs  are  missing,  but  the  rest  of  the  figure 
suggests  an  attitude  of  flight.      H.  of  in.  I,  hii,  367. 

REPRESENTATIONS  OF  HERAKLES  AND  HIS  ATTRIBUTES 

The  position  of  Herakles  among  the  objects  of  worship  in  C^.xprus, 
and  the  general  characteristics  of  his  cult,  ha\e  alread\'  been  dis- 
cussed in  the  Introduction  (p.  126).  The  series  ioQ2-iin  in  Wall- 
Cases  37-S  shows  the  principal  stages  of  de\elopment  in  the  repre- 
sentation of  Herakles  himself  (io()2-iioo)  and  of  his  principal 
attribute,  the  lion  (i  101-7),  and  a  few  other  subjects  connected  witli 
his  "labours."  With  this  t\pe-series  of  statuettes  should  be  com- 
pared tne  colossal  Herakles  1  ^Oo  in  Centre-Case  C,  the  representa- 
tions of  the  monster  Gerxon  12Q2-4  in  Floor-C^.ase  XI 11,  the  sculp- 
tured slab  I  36S  in  Centre-Case  F,  \^•hich  also  shows  part  of  the 
stor\'  of  Ger\'on,  and  the  lion-killing  scenes  139^-6  in  Wall-Case 
57- 

Herakles,  in  C\prus,  is  rather  a  god  than  a  hero.  He  represents 
the  beneficent  aspect,  as  it  appeared  to  the  Greeks,  of  an  old  local 
deit\'  whom  the  Phoenicians  at  Kition  identified  with  their  own 
Lightning  Cjod,  Reshef-.Melqart  fp.  126).  The  representations 
of  him  in  Cx'priote  art  develop  this  idea  in  sexeral  directions,  under 
the  influence  of  successive  comparisons  with  similar  powers  and 
their  t\pes  in  art  elsewhere.     Our  first  glimpse  of  the  Greek  Her- 

170 


MINOR   TYPES 

akles  is  in  the  Homeric  poems,  where  he  has  neither  club  nor  lion- 
skin  but  is  simply  a  great  archer,  who  presumably  — •  though  the 
poet  does  not  say  so  —  shoots  foul  and  dangerous  things  with  his 
arrows.  Among  the  smaller  Greek  sanctuaries  this  aspect  of  him 
survived  into  historic  times;  in  Mount  Oeta  he  is  a  locust-god, 
Kornopion;  at  Erythrae  he  is  "sla\'er  of  caterpillars,"  Ipoktonos; 
and  the  "Infant  Herakles"  killing  serpents  became  a  famous  type 
in  art.  In  Cyprus  this  Herakles-of-the-Bow  persisted  into  historic 
times,  in  sculpture  (1092-3)  and  on  gems,  combined  rather  clumsily 
with  Herakles-of-the-Club. 

This  second  t\pe  appears  first  in  post-Homeric  Greece;  and  its 
earliest  expression  in  sculpture  was  a  famous  cult-statue  at  Erythrae 
in  Ionia.  It  seems  to  represent  a  conception  of  the  hero  closely 
allied  on  one  hand  to  the  .Minoan  "God  of  the  Double  Axe,"  on 
another,  to  northern  Hammer-Gods  like  Thor,  and  to  the  Hittite 
Mace-God  in  Asia  Minor  and  North  Sjria;  all  equally  obvious 
renderings  of  a  Power-who-smites,  either  by  sun-stroke,  or  thunder- 
bolts. To  identify  the  Bow-man  with  the  Club-man  was  easy;  to 
adjust  the  two  renderings,  in  art,  more  difficult.  In  C\prus  alone 
were  the  artists  so  reckless  in  incongruity  as  to  let  the  hero  keep 
his  bow  extended  in  his  left  hand  while  he  brandished  his  club 
behind  his  head  with  his  right,  like  the  old  cult-statue  at  Erythrae. 
This  is  well  seen  in  the  small  statues  1094-5,  on  the  gem  4224,  and 
on  fifth  century  coins  of  Kition  (British  .Museum  Coin  Catalogue, 
Cyprus  PI.  ii,  iii,  iv,  xix,  8,  9);  and  less  clearlx',  through  damage,  on 
the  Eur\'tion  slab  1368.  The  deity  referred  to  as  "Amphidexios" 
in  1843  in  the  Collection  of  Inscriptions  seems  to  have  represented 
another  such  "two-handed  god,"  probably  a  local  Reshef  like  the 
Herakles  of  Kition. 

Thirdly,  Herakles  is  the  Lion-killer,  and  wears  the  lion's  skin, 
fhis  again  is  a  generalization  from  se\eral  local  \ariants.  In 
Homer,  Herakles  wears  a  belt  decorated  with  designs  of  lions  and 
bears,  but  it  is  not  said  that  he  killed  them:  his  lion-killing,  howe\er, 
was  famous  in  later  da\s  in  (Greece  (when  the  lion  was  still  to  be 
feared  in  F.urope),  and  was  localized  at  N'emea.  Meanwhile  in 
(jlicia  and  jiarls  of  (iappadocia  there  was  a  Hittite  lion-lamer, 
who  sometimes  stands  upon  the  conc|uereil  beast,  as  on  coins  of 
Tarsus,  sfjmetimes  holds  him  up  b\'  the  hind  foot.  The  latter  type 
seems  to  have  been  inlluenci'd  b\'  the  Hab\'lonian  Lion-killer:  but 
it  is  an  okl  type  in  the  West,  for  it  is  found  on  Minoan  seal- 
stones  in  Oete  and  the  Aegean,  w  hich  are  free  of  direct  l>ab}lonian 

171 


IHH    COLLECTION    OF    SCULPTURE 

influence.  In  Egypt  likewise  the  grim  dwarf  Bes  not  only  fights 
with  lions  but  wears  the  lion-skin,  just  as  Herakles  docs  in 
C)priote  sculpture  and  on  coins  and  gems.  This  is  probabh' 
what  Herodotus  means  when  he  says  that  the  Greeks  obtained 
Herakles  from  Eg\pt,  and  it  is  significant  that  in  C\prus  this 
Herakles-in-the-lion-skin  first  seems  to  become  popular  in  the  period 
of  Egyptian  influence. 

Then  three  things  happen.  First,  Herakles  assumes  the  lion-skin 
along  with  his  bow  and  his  club,  even  when  he  is  not  killing  lions; 
as  for  example  on  the  Eurxtion  slab  1368.  Secondh',  though  in 
earlier  representations  he  wrestles  with  the  lion,  or  meets  him  with 
a  sword,  or  (like  Samson,  the  lion-killing  hero  of  Israel)  with  his 
bare  hands,  from  the  fifth  centur\'  onward  he  begins  to  use  his  club. 
Thirdly,  the  lion  shrinks,  for  the  artist's  convenience,  from  being 
of  monstrous  size  and  a  worth\'  foe,  to  be  a  small  and  merel\- 
decorati\'e  s\'mbol,  climbing  like  a  playful  cat  up  the  hero's  leg,  as 
in  1097-8  and  on  the  later  coins  of  Kition.  A  late  figure  of  strange 
Oriental  style  (1203)  holds  a  lion  in  front,  but  it  has  no  other 
attribute,  and  is  catalogued  provisionally  with  the  l'emple-bo_\s  of 
similar  st\le. 

Two  other  aspects  of  Herakles  need  separate  mention,  because 
thev  were  especiall\'  prominent  in  C\prus.  His  struggle  with  the 
Old-Man-of-the-Sea  seems  to  be  a  Greek  rendering  of  a  tamer  of 
sea-monsters,  illustrated  at  Txre  bv  a  Herakles  who  rides  a  dol- 
phin, like  those  Western  deities  or  heroes  atTaenaron  andTarentum 
who  ha\'e  given  artistic  shape  to  the  tale  of  .Arion.  The  little 
gem  4283  shows  the  same  t\'pe  transferred,  long  after,  to  the 
Love  God. 

The  capture  of  the  cattle  of  Geryon  is  more  difficult  to  explain. 
In  the  first  place,  in  .Asia  .Minor,  Sandon,  Lord  of  Lions,  is  not  al- 
wavs  clearl\'  distinguished  from  another  strong  god,  Teshup,  Lord  of 
the  Bull.  Secondly,  in  unsettled  country  one  of  the  chief  functions 
of  a  pastoral  god  is  to  recover  lost  cattle,  and  no  less  also  to  pre- 
side over  cattle-raiding,  especiall\'  if  he  be  also  in  some  sense  a 
lion-god:  the  favourite  group  of  lion  and  bull  has  here  perhaps  its 
mythological  allusion.  Thirdiv,  the  notion  of  a  great  raid  into 
the  Far  West,  which  is  inherent  in  the  tale  of  Geryon,  is  at  the 
same  time  a  m\'th  of  the  Sun's  daily  journey  to  the  west,  whither 
the  hero  sails  in  a  golden  bowl,  in  the  tale  —  and  we  should  note 
that  .-Xpollo,  too,  has  cattle  to  lose  and  to  reco\er — and  of  the 
"cloud-compelling"    function    of   the    Lord    of    Heaven.     It    was 


MINOR    TYPES 

also,  like  the  wrestling  with  the  sea-monster,  a  very  natural  ex- 
tension of  the  functions  of  an  original  land-god,  when  his  wor- 
shippers went  down  to  the  sea  in  ships,  and  acknowledged  his 
power  even  there:  "these  men  see  the  works  of  the  Lord,  and 
his  wonders  in  the  deep;"  and  they  saw  also  "his  good  hand  upon 
them,"  in  the  safe  return  of  their  argosies.  It  is  noteworthy  that 
the  tale  of  Geryon  has  its  closest  counterpart  in  the  legends  of  the 
west,  and  that  the  other  legends,  of  Medusa  and  the  Kerkopes, 
which  decorate  the  shields  of  the  Triple  Geryon,  1292,  are  likewise 
localized  there. 

1092-1100.     Hhrakles,  standing,  wearing  the  lion-skin  cloak  and    w^\\ 
armed  with  bow  (1092-3)  or  bow  and  club  (1094).     The  style    Case 
and  treatment  vary,  from  the  Ass\rian  and  Egyptian  st\les,    ^' 
through  archaic,  mature,  and  decadent  phases  of  the  C\priote 
st\ie,  to  late  Hellenistic.     This  is  one  of  the  most  complete 
series  for  the  comparison  of  a  single  t\pe  in  these  successive 
st\ies. 

ORIHNTAL    STYLHS 

The  earliest  is  the  detached  head  1099,  which  alone  goes 
back  into  the  period  of  Ass\rian  influence.  About  700-650  B.  C. 
1092,  with  bow  and  arrows  only,  has  quite  conventional 
features  of  Eg\'ptian  st\le,  and  wears  an  Eg\-ptian  wig  and 
foldless  tunic  beneath  the  lion-skin,  which  encloses  the  face, 
and  is  girt  closely  about  the  waist  b\'  a  belt  like  that  of  the 
votaries  in  C\'priote  dress,  1039  IT.  Its  forepaws  grasp  the 
long  ends  of  the  wig,  on  the  breast.  The  left  hand  holds 
the  bow,  which  is  not  easv  to  recognize  because  the  space 
between  the  bow  itself  and  its  string  is  left  solid.  The  right 
arm,  which  is  missing,  was  thrust  forward  from  the  elbow, 
and  may  have  held  arrows.     About  650-600  B.  G.  H.  i  ft. 

7s  in.  1,  lx,\x\ii,  580. 

ARCHAIC  cYPKiorr.  stylh 
1092   a.     shows   the  same   m(jti\e   rather    further   de\eloped. 
The  bow,   bow-case,   and   quiver  are  clearl\'   represented,  and 
the  right  hand  holds  four  arrows,  as  does  ihe  colossal  Herakles 
1360  in  (A'litre-C^ase  CI     About  600  B.  G.  1,  574. 

K)9  5,  with  some  I-'g\-ptian  influence.  The  lion-skin  covers 
all  the  hair,  and  the  forepaws  are  knotted  on  the  breast. 
Below  it  apjiears  a  tight  tunic,  and  below  the  belt  hangs  an 
Egyptian  kilt  with  broad  smooth  centre  folil.      In  each  hand 

'73 


THE    COLLI-A'.TION    OF    SCULPTURE 

^''^"  is  a  bundk'  of  arrows  (as  in   1360)  and  the  left  also  supports 

,_  a  qui\er,  which  hangs  from   behind  the  shoulder.      The   legs 

are  broken  awa\'  at  the  knee.  This  tigure  has  man\'  traces 
of  bright  colour.  The  lips  were  red;  the  lion-skin  is  \ellow 
with  red  ears;  the  tunic,  blue  with  red  border,  and  central 
stripe  from  neck  to  belt ;  the  loin-cloth  \'ellow,  and  its  centre  fold 
blue  and  red  in  horizontal  bands;  the  qui\'er  red,  with  blue 
arrows.     About  600-550  B.  C.  H.  81  in.  Doell,  vii,  2, 

183.  I,  Ixxxviii,  576. 

10Q4-5  wear  lion-skin,  tunic,  and  belt  as  in  10Q3,  but  the  kilt  of 
1094  has  a  pattern  of  crossed  lines,  within  a  broad  plain  border. 
The  left  arm  seems  to  have  been  thrust  forward  as  if  holding 
the  bow,  while  the  right  was  raised  as  if  brandishing  a  club 
over  the  head;  but  both  arms  are  missing,  and  both  legs  below 
the  border  of  the  kilt.  The  face  of  1094  has  a  long  pointed 
beard.         .\bout  550-500  B.  C.  Hs.  8^  in,  105  in. 

I,  Ixxxx'ii,  572  (1095). 

MATURE    CVl'RIOTF.    STYLE 

1096  resembles  1094-5  i"  pose,  but  is  far  more  vigorous 
and  lifelike.  The  lion-skin  is  omitted,  and  the  hair  is  repre- 
sented in  man\'  small  curls  all  over  the  head,  and  a  plaited 
coil  behind  the  neck,  in  the  Greek  fashion  called  krobylos. 
From  the  waist  to  the  knees  falls  a  loose  undertunic,  with 
lateral  seams,  and  a  zigzag  border  in  red:  part  of  its  slee\e 
appears  on  the  right  upper-arm.  Over  it  is  a  red  o\erfold, 
which  hangs  down  as  far  as  the  waist,  and  oxer  this  again 
is  a  foldless  tunic  cut  ver\'  short  in  front,  but  hanging  in  long 
ends  below  the  waist  at  each  side:  compare  the  costume  of 
1358  in  Centre-C^ase  B  and  the  other  references  given  there.  Its 
short  sleeves  and  neck-opening  ha\e  a  broad  meander  pattern 
in  red.  Both  arms,  and  both  legs,  are  broken  awa\-.  .About 
500-450   B.   C.         H.    I    ft.  1,  lxxx\ii,  577. 

DECADENT  CYPRIOTE  SIVLE 

1097  is  in  the  same  attitude  as  in  1096,  but  dex'oid  of  vigour. 
The  hair  is  in  close  locks  o\er  the  head,  and  forms,  with  the 
lion-scalp,  a  ct)nfused  rectangular  mass  behind  to  support 
the  club  which  was  held  horizontal!}-  in  the  upraised  right 
hand.  The  e\-es  are  large  and  tlat,  as  is  usual  in  this  later 
st>ie,  and  were  intended  to  be  painted.  .\  loose  tunic  falls 
nearl\'  to  the  knee,  with  sleex'es  to  the  elbow.     0\'er  it,  all  four 

•74 


MINOR    TYPES 

feet  of  the  lion-skin  are  knotted  together,  and  over  all  is  a  ^^" 
broad  flat  belt.  Both  legs  are  missing  from  below  the  knee;  ,„ 
also  the  right  arm  which  probably  held  the  bow;  the  left  hand 
rests  on  the  head  of  a  small  lion,  which  climbs  up  the  hero's 
left  thigh.  It  is  this  lion  which  he  is  attacking  with  his  club; 
but  the  poses  of  man  and  beast  have  been  distorted  by  unin- 
telligent cop\ing.  There  is  red  paint  on  the  lips  and  lion-skin. 
About  400-300  B.  C.         H.  I  ft.  42  in.         Perrot,  fig.  390. 

I,  Ixxxvii,  575. 

HELLENISTIC    STYLE 

1098  has  the  same  attitude  and  treatment  as  1096-7,  but 
the  st}le  has  lost  all  affinity  with  the  old  native  work.  In 
conformity  with  a  late  Greek  tradition,  the  hero  wears  a 
short  beard,  of  nearl\-  straight  hair,  cut  awa\'  round  the  lips. 
The  right  foot,  which  alone  is  preserved,  is  bare.  There  is 
red  paint  on  the  head,  the  tunic,  and  the  lion.  After  300 

B.  C.  H.  I  ft.  9}  in.         C\prus,  p.  250;   Perrot,  fig.  389. 

1,  Ixxxvii,  578. 

1099.  Head  of  Her.akles,  from  a  figure  like  1094,  but  in  rather    ,^^.,1] 
more  brutal  and  Assyrian  style.      The  lion-skin  encloses  the    Case 
head  closel\-,  but  shows  several  rows  of  small  curls  of  the  hair    39 
on  the  forehead.      The  e\'es  are  wide  and  prominent,  cheek- 
bones high,  mouth  large,  and  jaw  square;  as  in  the  large  heads 

125 1-2  in  Floor-Case  XI.         .About  700-650  B.  C.         H.5|in. 

1100.  Head  of  Herakles,  from  a  figure  like  1096,  in  Archaic 
Cypriote  st\ie  under  Creek  infiuence.  The  e\es  and  mouth 
are  well  modelled,  and  the  lion-skin  fits  the  head  closely. 
.About  300  B.  (~.         H.  6  in. 

1101-5.     Lhjns   from  Statues  of   Hf:raklfs,    represented,  as  in    ,,.  ,, 

.        .  .Wall 

1097-S,   climbing  up   the  hero's  leg,   and   repelled   b\-   his  left    Case 

hand.     1  hese   fragments   show   the   same   secjuence  of  st\les    3^ 

as  the  figures   1092-.S,  and  should  also  be  compared  with  the 

series   of    lions    from    tombstones     1382-1396    in     Wall-Ceases 

52-6  in  the  Annex. 

;  101    is  in  Oriental  st\Ie,  with  simple  rounded  forms,  short 

massixe  legs  with  well-marked  muscles,  and  large  claws.      The 

ears  are  short,  and  jiroject  through  the  compact  mass  of  the 

mane.      The   mouth   is  wide  open   and  the  tongue  protrudes. 

There   is   red   jxiinl   on    the   lips   and   tongue,   and   within   the 

ears.         About  -jini-b'^u  B.  C.  \,  lxxxi\,  545, 

175 


THE    COLLECTION    OF    SCULPTURE 

^^  •'"  I  102-3  show  some  adxance  of  style,  with  e\'es  more  expressive, 

"  y  teelh  belter  cut,  and  the  hinder  edge  of  the  mane  thrown  out 

into  ct)nvenlional  curls  of  hair.  This  is  an  improvement  on 
the  convention  of  a  single  curl,  which  is  common  in  Hittite 
lions  before  700  B.  il..  and  is  shown  on  1  106  below.  On  i  103 
there  is  red  paint,  and  the  mane  tapers  to  a  point  in  the  middle 
of  the  back.         .About  ()o()  B.  C 

I  104  shows  the  head  turneei  sharpl\'  round  to  the  right,  a 
new  sign  of  \italit\'.  Ihe  mouth  is  half  closed,  and  the  mane 
ill-dehned,  but  the  work  though  careless  may  nevertheless 
be  earlw  .\bout  600-330  B.  C  L.  1I2  in. 
I  105  closel\'  resembles  the  lion  in  1098.  It  is  a  coarse  but 
vigorous  imitation  of  late  Greek  work,  with  prominent 
e}'es,  full  lips,  and  half-closed  mouth,  though  the  tongue 
still  protrudes.  The  ears  are  in  front  of  the  mane,  which 
has  a  fringe  of  hea\\'  locks  in  front,  and  a  roughlx'  tooled 
mass  behind,  tapering  to  a  point  as  in  i  10^.  .After  300  B.  C. 
L.  I  1  ^5  in. 

1106.  RhcimbiiNT  Lion,  probabl\'  an  independent  figure;  in 
\igorous  archaic  st\ie,  with  open  mouth  and  protruded  tongue. 
The  ears  lie  back  upon  the  mane,  which  has  the  single 
pointed  lock  behind,  characteristic  of  Hittite  lions  before  700 
B.  C,  and  is  coxered  with  rough  lines  to  indicate  its  texture. 
The  tail  is  brought  round  irom  below  o\er  the  right  hind- 
quarter,  as  in  the  funerar\'  lions  i3(S2-()6  in  W'all-C^ases  32-6. 
There  is  black  paint  on  the  mane,  and  black  lines  round  the 
e}es.     .About  330-300  B.  C.         H.  3 J  in.     L.  6  in. 

I,  xx\ii,  93. 

I  107.  KbCL;.MBi-.NT  Lion,  apparentl\'  broken  awa\'  from  a  corner 
of  the  base  of  a  statue  of  Herakles.  The  head  is  treated  with 
great  spirit,  in  Hellenic  st\le.  with  hea\\'  mane  and  beard. 
■About  400-^00  B.  C.  H.  ()l  in.      L.  <S:]  in. 

I  loS.  HhRAKLhs  W'RhsTLiN';.  (Jf  this  interesting  group  only  the 
base  remains.  It  shows  the  coiled  tail  of  the  Old  .Man  of  the 
Sea,  b\-  whose  side  kneels  Herakles,  wrestling  with  him  as  in 
the  pjtpular  representations  on  (/reek  x'ases  of  the  sixth  and 
fifth  centuries,  and  (jn  gems  of  earlier  date.  Behind  Herakles 
stands  another  figure,  perhaps  Herakles'  attendant  lolaos, 
one  of  whose  feet  treads  on  the  upturned  sole  of  his  left  foot, 
while  the  right  hand  grasps  a  piece  of  drapery  which  comes 

176 


MINOR    TYPES 

from  under  the  monster's  tail.     On  the  broken  front  edge  of  ^^a" 
the  whole  group  is  the  right  foot  of  another  figure,  perhaps     g 
the  goddess  Athena,   the  patron   of  Herakles,   who  so  often 
watches  over  his  labours.         About  550-500  B.  C.         L.  7  in. 

I,  xxvii,  92. 

1109.  Miniature  Altar,  with  relief  on  three  sides.  In  front  is 
Herakles  in  combat  with  the  lion,  which  he  seizes  with  his 
left  hand  by  the  mane,  brandishing  his  club  with  his  right, 
as  in  1096.  On  the  right-hand  side  is  a  votary,  conventionally 
posed  with  hand  across  body,  and  on  the  left  another  votary 
in  an  attitude  of  adoration.  In  a  narrow  panel  above  are 
traces  of  another  subject,  much  destroyed.  The  work  is 
rough,  and  the  date  uncertain,  but  probably  archaic.  Com- 
pare the  inscribed  altars  1859-60  and  reliefs  1869  (Zeus)  and 
1870-79  (Apollo)  in  the  Collection  of  Inscriptions.     H.  10  in. 

I,  xxvii,  85,  87,  89. 

1 1  10-13.  Hydras  or  Snakes,  probablx' to  commemorate  Herakles 
as  sla\er  of  the  Lernaean  Hydra,  as  the  lions  1 101-7  record  the 
Lion-killer.  The  sacred  snake  which  is  the  attribute  of 
Asklepios  the  Healer  is  a  more  placid  beast  than  these. 
1 1  lo-i  I  are  coiled  on  the  corner  of  a  statue  base.  1 1 12-3  are 
the  heads  of  similar  snakes;  the\'  seem  to  be  of  early  Hellenic 
work,  of  poor  style  and  uncertain  date.  Hs.  7  in. — 4I  in. 

l,xx\ii,  91.      (i  I  lo-i  1 );  1,  xx\ii,   77,76. 

representations  of  rural  deities 

Several  of  the  smaller  sanctuaries  in  (^vprus  are  dedicated  to 
Shepherds'  Patrons  and  other  rural  deities,  of  the  same  character 
as  the  god  Pan  among  the  Creeks.  Some  of  these  local  powers  were 
identified  with  (ireek  gods,  either  absolutely,  or  with  qualifications 
like  .Xpollcj  Hvlates  ("Apollo  of  the  Woodland  ")  at  Kurion.  Others 
bore  a  descriptive  title,  like  Opaon  .Melanthios  ("  .Melanlhios  the 
(companion"),  at  .Amargetti,  northwest  of  Paphos. 
y^epresentations  of  these  deities  show  well  how  casil\'  Cypriote 
sculptors  adapted  foreign  models  to  local  purposes,  and  also  how 
the  native  copies  couKi  degenerate  through  heedless  repetition. 
The  late  and  blundered  figures  1117-^,  for  exampK',  would  have 
been  almost  unintelligible,  if  it  hati  not  been  possible  to  connect 
them  with  their  (ireek  original  llirougli  so  full  a  set  of  intermediate 
forms  as  is  fortunately  assembled  here. 

177 


THE    COLLF-ICTION    OF    SCLLPTL'RH 

\yill    I  I  14-iS.     Pan  or  Opaon  Mhlanthios,  represented  standing,  with 
''t  knees  slightl\'  bent.     On  his  head  are  two  short  goat's  horns, 

and  long  pointed  ears.  On  his  brow  the  hair  rises  short  and 
stiff,  and  falls  in  a  wide  mass  behind  his  shoulders.  He  wears 
nothing  but  a  short  cloak  drawn  round  his  shoulders  and  tied 
in  front;  it  is  the  simplest  shepherd's  dress,  in  C^\prus  as  in 
Greece,  in  his  right  hand,  which  falls  b\'  his  side,  is  a  long 
shepherd's  stafT,  slightl\"  thickened  and  cur\ed  at  the  end; 
in  his  left,  which  just  appears  beneath  the  cloak,  is  a  rectangular 
object  which  is  probabl\'  intended  to  be  the  pan-pipes  of 
rustic  melod\-.  The  t\'pe  is  familiar  in  Greek  art  from  the 
fourth  century  onward;  the  Cxpriote  copies  of  it  are  poor  and 
late,  and  at  last  almost  unrecognizable. 

I  1  14  has  all  the  principal  details  well  defined:  it  is  in  decadent 
st\ie,  under  late  Greek  influence,  but  ma>'  be  as  earh'  as  the 
fourth  centur\-.         H.  i  ft.  9!  in.  I,  cxix,  8(12. 

I I  15    has   the   horns   less   clearl\'   represented,   and   the  staff 

becomes   a   massive  club.     There   is   red   paint   on   the  ears, 

pipes,  and  cloak-border.         H.  i  ft.  §  in.  1,  cxix,  867. 

1 1 16  has  the  same  pose  and  details  as  1 1  1 5,  but  is  more  care- 

lessl\'  executed.     The  head  is  separate,  and  does  not  certainly- 

belong  to  the  bod\'.  H.  i  ft.  ^  in.  1,  cxix,  Siij. 

I  I  17  is  a  \er\-  rude  and  late  cop\-.     The  ears,  horns,  and  staff 

ha\e  almost  disappeared,  and  the  pipes  are  onl\'  recognizable 

b\-  comparison  with   11  14-6:  the  cloak  is  onl\'  represented  h\ 

raised  margins  and  b\'  rough  tooling  to  render  its  hair\-  texture. 

H.  1  ft.  2.1  in.  1,  cxix,  8()(). 

I  I  18   is  still   more   rudeh'  cut,   and   the  shepherd's  staff  has 

\anished  altogether.  This  figure  and  i  i  17  are  ith\phallic. 

H.  ()  in.  1,  cxix,  8sc). 

,,.  ,,    1  I  in-2o.      Kriophoros  or  Good  Shhpherd,   carrxing  a  ram  on 

W  all  .  .  .       .  ' 

(~ase  his  shoulders,  and  holding  it  b\-  the  feet  in  either  hand;  prob- 

3^  abl\'  to  represent  some  shepherds'  tieitw      In  C^ireek  sculpture 

the  t\'pe  appears  in  the  sixth  centur\';  it  is  usuall\'  identified 

with  Hermes;  and,  after  long  popularitx'  in  the  Graeco-Roman 

world,   was  adopted  and  further  de\'eloped  in  earl\'  (Christian 

art. 

iiiQ  is  in   Oriental   st\le,  with    Fgxptian  head-dress,  foldless 

tunic  from  neck  to  ankles,  and  hare  feet.     There  is  red  paint 

on  lips  and  ears.     The  ram's  head  is  separate,  and  does  not 

178 


MINOR    TYPES 

belong  to  the  body  for  certain,  but  the  motive  of  the  figure   Wall 
is  clear.      About  650-600  B.  C.  H.  gf  in.  Doell,  vii,  3,    ^g^'" 

202.  I,  xvi,  22. 

1 120,  in  Mixed  Oriental  style,  rather  later  than  11 19:  with 
heavy  features,  prominent  eyes,  strong  evebrows,  and  many 
small  locks  of  hair.  The  dress  consists  of  tunic,  belt,  and 
short  over-tunic,  cut  away  in  front  as  in  1358.  The  ram's  head 
is  carefull}'  executed,  and  its  fleece  is  rendered  by  rough  tooling. 
Below  the  waist  the  figure  is  broken  away.  About  600-550 
B.  C.         H.  I   ft.  I  in.         Perrot,  fig.  402.  I,  xvi,  21. 

With  these  Kriophoroi  should  be  compared  the  small  Kriophoros 
supporting  a  bowl  1141;  the  ram-headed  and  ram-throned 
figures  of  Zeus  Ammon,  the  shepherds'  deity  of  pastoral  Lib\'a, 
1  136-40;  and  a  clay  figure  from  Ormidhia  in  the  British  Museum, 
Catalogue  of  Terracottas  A.  go. 

1  1 2 1-3.     Satyrs,  nude  and  grotesquely  modelled,  with  large  round    Wall 
beards  and  protruded  tongues:  compare  the   satyr   2069   in    Case 
the  Collection  of  Terracottas.     It  is  not  certain  whether  these    ^^ 
satyrs  come  from  sanctuaries  or  from  tombs.     If  from  sanctu- 
aries, the\'  ma\'  be  attributes  of  Herakles,  like  the  lions  and 
snakes;  for  the  herdsman  of  Geryon  is  represented  in  satyric 
form,  on  the  slab  1368  in  Floor-Case  F.     The\'  ma\',  however, 
have   been   simply   regarded   as   woodland   demons,   like   the 
goat-footed  Pan. 

I  121  is  in  Mixed  Oriental  style,  and  aggiessive  pose.  About 
600  B.C.         H.  5^  in.         Doell,  vii,   i,    199.         I,   Ivii,  370. 

I  122  is  in  Archaic  Cypriote  st\-le,  and  aggressive  pose;  it  seems 
to  have  formed  part  of  a  larger  group.  About  550-500  B.  C. 
H.  52  in.  1,  Ivii,  369. 

1123    is   in   lale   Hellenistic   style,   with   long  beard:  compare 

the  Hellenistic  figure  of  Silenus  1225  in  \Vall-(>ase  47. 

IF  4I  in.  I,  Ivii,  371. 

Sl-.Ari-.n  AM)  RhCL'.MBI-.NT  [KU'RIiS  f)l-   DHITH.S  AND  \()rARll-:S 

At  some  C~\priote  sanctuaries,  small  seateti  figures  are  \-ery  com- 
mon, and  figures  of  similar  t\pes  are  sometimes  found  also  in 
tombs.  Mfjst  of  tht'm  ri'present  either  the  Mother  Coikless  with 
her  infant;  or  the  "Fadv  of  C\prus"  without  an  infant;  or  Zeus 
Amniijn;  (jr  male  or  t'emale  votaries;  and  the)'  should  be  c(jmpared 

179 


THH    COLLECTION    OF    SCXLPTURH 

W  all  with  till"  renderings  of  the  same  motives  in  the  Clollection  of  Terra- 
Cases 

1 124-32.     Nursing  .Mothi;rs  of  various  periods  and  st\les. 

I  124  sits  in  a  high-backed  throne  with  arms,  and  has  Oriental 
features,  Kgxptian  head-dress,  and  hea\\'  collar  and  pendant; 
the  child  lies  across  her  lap  and  is  held  clumsil\'  with  both 
hands.  About  Ooo  B.  (].  H.  dj';  in.  I,  .xxxviii,  247. 

1125  is  of  a  t\pe  closel\-  allied  to  1124,  but  the  feet  nf  the 
child  hang  down  bexond  the  .Mother's  knees,  and  there  is 
red  paint  on  her  robe.  .About  600  B.  C.  H.  s  in. 

1.  xxwiii,  2s  I . 

1126  has  hea\\'  Oriental  features,  and  wears  a  characteristic 
veil  which  falls  from  the  head  before  each  shoulder,  and  is 
then  brought  round  over  each  knee.  There  is  red  paint  on 
the  robe-borders  and  on  the  throne.  .About  600  B.  C. 

H.  7s  in.  1,  l\ii,  394. 

1127,  in  .Mature  C^.\priote  st\ie,  but  careless  workmanship, 
shows  the  same  \eil,  and  also  a  characteristic  pointed  hood 
for  the  child,  which  persists  through  all  later  phases.  .About 
100-400  B.  C.  H.  7s  in.  Doell,  vii,  16,  207. 

112S-9.  in  decadent  st\le,  show  almost  no  details,  but  1128 
bears  traces  of  red  paint,  and  i  i2q  has  the  child  seated  upright. 
.About  400-300  B.  C.  Hs.  ()l  in.   ^l  in.        1,  hii,  39^  (i  129). 

1130-31  are  in  a  late  conventional  st\le,  highh  coloured,  and 
of  uncertain  date:  these  \arieties  are  common  in  the  sanctu- 
aries at  Idalion,  .Achna,  and  elsewhere,  i  1 30  has  the  child 
standing  upright  on  the  Mother's  left  knee.  After  300  B.  C. 
Hs.  -j'i  m.,     9  in.  Perrot,  tig.  377  (d.  1124). 

I  1 32-4.  Shai'hu  Dhities  or  \'oT.\Rit-s  The  \  eil  and  necklace, 
and  the  tlower  in  the  hand  of  i  1 32  place  this  figure  in  the  same 
class  as  the  standing  votaries  1080-4  in  Wall-Case  3^.  ()oo- 
500  B.  C  Hs.  10  in,  4}  in,  4.J  in.      I.  xxxviii,  240  (i  i  32). 

I  I3S-  .MiMATiRH  Shrinh  OF  THH  AloTHHR  GoDt:)tiSs.  The  shrine 
is  four-sided,  witti  a  pointed  roof.  Two  adjacent  sides  are 
blank,  and  on  the  other  two  are  ti\e  figures  of  the  Goddess, 
nude,  with  hands  pressed  to  breasts,  as  on  the  sarcophagus 
1 3()5  in  (Centre-Case  E,  and  in  the  figures  2144-6  in  the  Collec- 
tion of  Terracottas.  H.  4tj  in.  1,  xxix,  200. 

There  seems  to  have  been  a  cult  of  Zeus  Amnion  in  C\prus  in  the 

180 


MINOR   TYPHS 

fifth  century,   for  his  horned  head  appears  on  coins  of  that  period  ^^all 
(British  Museum's  Coin  Catalogue  (C\prus)   PI.  xiii,  q,   lo).     It  ,  '   .^,^, 
ma>-  have  been  introduced  from  Cyrene,  with  which  city  King  Evel- 
thon  of  Sahimis  was  in  especially  friendh'  relations  in  the  middle 
of  the  sixth  centurw 

I  n()-40.     Zels  Ammon,  seated  on  a  high-backed  throne,  of  which    Wall 
the  arms  are  formed  bv'  rams.     The  deit\'  has  rams'  horns   '^-^'^^' 
on  his  head.     These  details  are  best  seen  in  i  136;  in  the  other 
examples  (i  137-1 13(-))  the  carving  is  ver\-  rough,  and  is  supple- 
mented  b\'   black  and   red    paint.     The  material   of    1137   is 
unusuall\'  soft  and  white.      About  600-500  B.  C.       Doell,  \ii, 
12,  222  (1138).     Hs.  7I  in. — 3}  in.     1,  583,584;  248,  250. 
1  140  shows  the  same  t\'pe  translated  into  Hellenistic  st\ie,  and 
the  deit\'  is  bearded  and  wears  a  high  polos  head-dress.     After 
300  B.  C       H.  62  in.  I,  lxxx\iii,  582. 

1141.  Ram-hhadhd  Kriophoros,  supporting  a  bowl  like  ih.e 
sphinx  bowls  1087-9  in  Wall-Case  36.  Here  the  ram-horned 
deil\',  identified  in  1136-40  with  Zeus  Ammon,  is  himself 
carrying  a  ram,  like  the  Shepherds'  Patrons  1119-20.  The 
fleece  of  the  ram  is  shown  by  the  same  rough  tooling  as  in 
1120.  The  lower  part  of  the  figure  is  missing.  It  is  clearl}' 
rough  work  of  about  500  B.  C.  H.  3]  in. 

1  142-s.  RhCLMBHNT  \V)TARii:s,  probabl}'  engaged  in  the  sacred 
meal  which  forms  part  of  man\-  earl\'  rituals:  compare  the 
complete  bantjuet  scene  in  Oriental  st\ie  1020  in  \\'all-(^ase 
30,  and  the  relief  on  the  west  face  of  the  sarcophagus  13()4  in 
(^entre-C.ase  1).      All  are  about  ()oo-5oo  B.  (1 

I  142,  in  long  tight-titling  tunic,  rests  on  a  couch  with  pillows, 
and  raises  both  hands  as  if  drinking  or  plaxing  the  double 
pipe.  In  front  of  him  stands  a  small  female  figure  with 
broad  fronlK't  and  two  hea\\'  necklaces,  and  a  flower  in  her 
right  hand.  There  is  red  paint  on  the  clothes  of  both  figures, 
and  black  on  the  shoes  of  the  larger.  About  ()0()  B.  C. 
H.  0,',;  in. 

1  143  has  the  same  long  tunic  as  1  142  but  is  a  Nounger  man  and 
wears  a  pointed  caji.  II.   si  in.  Perrot,  fig.   -ic)!^. 

1  144,  also  \i)ung,  has  a  short-slee\ed  tunic,  and  onl\'  a  narrow 
band  about  his  head.  II.  41'',,  in. 

1145  is  bearded,  and  ha^  close-cut  hair.  II.  ^ij  in. 

181 


THE    COLLECTION    OF    SCULPTURE 

^^'I'l    ii4()-s3.     Votive  Animals  and  Birds  are  found  in  man\'  sanctu- 
'^)^^^  arics,  and  similar  statuettes  were  sometimes  placed  in  tombs. 

rhe\'  are  usualh'  the  offerings  of  poor  folk,  and  are  more  com- 
monly of  cla\'  than  of  stone:  such  figures  are  2070-97  in  the 
Collection  of  Terracottas.  Domestic  animals  are  commonest; 
those  shown  here  are  all  of  uncertain  date. 

I  146.     Cow  and  calf.     H.  72  in.     Doell,  vii,  224     I,  cviii,  669. 

I  147.     Two  cows  and  a  calf.         H.  6|  in.  1,  xc\iii,  666. 

1 148.  Shcepfold  containing  a  drinking  trough  and  si.x  sheep. 
L.  84  in.  1,  xcviii,  668. 

1 149-50.  Coursing  hound  seizing  a  hare.  Compare  with  this 
the  large  hound  1223  of  similar  breed,  and  rather  late  Cypriote 
st\ie;  it  is  placed  for  convenience  in  Wall-Case  48.  Hs.  2\ 
in.,  ili-  in.     Ls.  6,^  in.,  6^  in.  I,  Ixxx,  525,  523. 

Wild  animals  are  either  attributes  of  deities,  or  thank-offer- 
ings for  relief  from  some  pest  or  danger,  such  as  snake-bite: 
in  the  latter  case,  the  offering  ma\'  appropriately'  be  dedicated 
to  the  deit\'  whose  sacred  animal  caused  the  trouble,  or  an 
animal  becomes  the  attribute  of  that  deit\':  for  examples 
see  p.  127  above. 

II 5 1-2,   Bird   (1151)   with   red   paint:  two  birds   (1152)  beak 
to  beak,  with  much  red  and  black  paint.     These  ma\'  well 
be  the  sacred  doves  of  the  Goddess  of  Paphos,   which   are 
shown  in  ancient  representations  of  her  temple  (p.  125). 
Hs.  31  in.,  4  in.     Perrot,  fig.  405  (i  i  52).  I,  Ixxx,  326,  527. 

1 1 53.  Snake,  coiled  on  a  low  pedestal  or  altar;  much  red 
colour.         H.  2|  in. 

With  these  offerings  for  protection  from  \-arious  dangers,  compare 
the  votive  limbs  or  organs  liable  to  accident  or  disease,  1675-87 
in  Wall-Case  75;  and  the  late  thank-offerings  for  childbirth  1226, 
and  other  bodily  peril   1227  in  Wall-Case  47. 


Wall 


1154-72.     Offerings   and   Attributes    held    by    \'otaries,    are 

Case  represented   here   b\-   a   scries   of  fragments   from   statues   of 

4'  various    periods.     These    are    often    found    broken    awa\-,    in 

spite  of  the  ingenuit\-  of  the  C>'priote  sculptor  in  adapting 

his  design  to  the  defects  of  his  material.     Most  of  them  are 

hands  holding  an  object  or  resting  on  it. 

182 


MINOR    TYPES 

1 1 54-3.     Sword-hilts  of  Assyrian  type,  with  ringed  grip  and    Wall 
globular  pommel,  not  later  than  the  seventh  century;  they  were      f^^ 
worn  horizontall}'  in  the  girdle,  and  supported  the  left  hand 
of  the  wearer.      1 1 54  is  more  than  life-size,   but  hardly  large 
enough  to  have  belonged  to  the  colossal  head  1257  in  Floor- 
Case  XI.  L.  I2|in.,  6|  in.  1,  xxviii,  125,   124. 

1 1 56-7.  Libation-bowls,  held  in  the  right  hand:  a  similar 
bowl  (4579)  .  in  the  Collection  of  Silver  Plate  upstairs  is  of 
the  fifth  or  late  sixth  century.         D.  6|  in.,  5  in.    1,  xxviii,  103 

(■'57). 
1 1 58.  Flowers,  forming  a  votive  nosegay;  probably  of  the 
sixth    centur}'.         H.    3!    in.  1,  xxvii,  loi. 

1 15c).  Lustral  spray,  in  a  right  hand,  like  that  held  by  1062, 
1069.         About  300  B.  C.  H.  io|  in.  1,  118. 

1160-1.  Incense-box  (and  cars  of  corn,  1160),  held  in  the  left 
hand,  as  in  1068-9.  Hs.  7I  in.,  7§  in.  1,  xxviii,  112(1 160). 
1 162.  Goat,  held  by  the  forelegs  in  the  left  hand,  as  in  1066; 
there  is  red  paint  on  the  goat's  beard.  H.  7-0  in. 
1 163-4.  Dove,  held  by  the  wings  (1163)  as  in  1068-9,  1072, 
1076,  or  beneath  the  hand  (1164),  as  in  1204-3.  Hs.  5I  in., 
3I  in.  1,  xxviii,  138,  140. 

1 165.  Swan,  held  beneath  a  hand,  probably  from  a  Temple- 
boy  like  1206  in  Wall-Case  43.         H.  3  in.  1,   xxviii,  139. 

1 166.  Bird,  perhaps  an  eagle,  from  a  statue  like  1073  or  135  i 
in  Centre-Case  A.  The  wing  feathers  are  clearly  shown, 
but  the  rest  of  the  plumage  onl\'  b\'  rough  tooling  like  that 
on  the  rams  1120,  1141,  and  b\'  red  paint.  L.  1  ft.  3  in. 
I  167-8.  Bunch  of  Daisies,  in  the  same  st\le  as  the  crowns  of 
leaves,  flowers,  and  berries  on  the  large  heads  1297  fT.  in  Floor- 
Cases  XIV,  XV.  Hs.  3  in.,  3i  in.  1,  xxix,  166  (1 168). 
1169-72.  Fruit-ofTerings  as  follows:  apples  (1169,  1171); 
pomegranate  (1170);  smaller  fruit  in  a  dish  (1172);  the  right 
hand  i  169  holds  also  an  incense-box  like  1  160-1.  Hs.  3s  in.- 
3  in.                                                         1,  xxix,  173,  171  (1169-70). 

1173-6.  ()thi-,r  Fragmhnts  f)f-  SiArri-.s,  all  of  Hellenistic  style 
with  red  paint;  parts  of  a  throne  (1  173-4J  with  grotescjue  heads 
of  goat  (i  173)  or  bird  (i  174);  a  Medusa  head  (i  175),  perhaps 
from  a  statue  of  .Athena:  comjiare  the  Corgoneion  on  (>vpri- 
ote  coins    (British  Museum  Coin  (catalogue,  Cyprus,  Fl.  xiii, 

183 


THH    COLLHCTION    OF    SCULPTURE 

Wall  3;  XXV,  12)  and  the  upper  bar  of  a  Cireek  lyre   (i  176),  from  a 

Case  votive  musician  like  1083  in  \Vall-(>ase  35.     Hs.  H}  in. — 4^  in. 

Doell,  xiii,  2,  788.      Cyprus,  p.  138. 

I,   xxix,    184    (1127);    Ixxxiv,    547    (1173);   xxvii,   98   (1174); 

xxvii,  97  (i  176). 

LATEF^    I  YPHS  OF  VOTIVE  STATUErTHS 

This  group  resumes  the  series  of  standing  male  votaries  which 
was  interrupted  at  1079,  in  Wall-Case  34,  to  deal  with  the  female 
votaries,  1080  IT.,  and  other  t\pes,  1086  ff.,  which  were  contempor- 
ar\'  with  the  earlier  groups.  The  later  series,  now  to  be  described, 
begins  at  the  point  where  the  C\priote  st\le,  having  attained 
to  maturitv  under  earlv  Greek  influence,  about  500  B.  C,  becomes 
first  stagnant,  then  decadent,  and  falls  into  more  and  more  servile 
imitation  of  the  later  st\  les  of  contemporary  Cireece. 

DECADHNT     STYLE     UNDER     LATER     GREEK     INFLUENCE 
ABOUT  400-300     B.    C. 

These  later  t\pes  all  preserve  a  conventional  uniformity  of  design, 
but  show  many  varieties  of  pose  and  attributes.  Most  of  these 
small-scale  votaries  represent  young  men,  and  so  also  do  the  con- 
temporarx  heads  of  about  half  life  size,  1312-17,  in  F"loor-Case  X\'. 
Bearded  figures  of  life  size  were,  howe\'er,  in  use  for  persons  of 
greater  age  and  importance:  for  example,  1407-8  in  Wall-Case  65, 
and  the  head  1 291,  in  bloor-Case  XI 11.  All  wear  the  hair  in  short 
curls,  beneath  a  crown  of  leaves. 

Wall   ''77-<^7-     Malh    Votarihs,    standing,    fully   draped,     usuall\-    in 

Cases  tunic  to  the  feet,  often  of  crinkled  material  (i  180,  i  183,  1  185-6), 

^  '^^  and  sometimes  also  a  cloak  hanging  from  the  left  shoulder,  and 

wrapped  round  the  waist   (1177,  1181-3,  1 187).     More  rareh- 

the  tunic  is  short  (i  178)  in  the  fashion  of  everyday  Greeks,  or 

is  girt  with  a  belt  (i  183).     Usually  the  pointed  shoes  of  indoor 

dress  are  worn;  but   1 187  wears  sandals.     The  votary  holds  a 

kid  (1 179)  or  a  do\e  (i  178,  1  180,  i  183-5),  or  a  spra\-  of  leaves 

(i  181-2),  or  incense-box  (i  182),  and  perhaps  other  offerings  now 

disfigured  (i  177,  i  180).     Occasional!}'  the  free  hand  is  empt}' 

(1186),  or  rests  on  a  short  column  (1187).     The  treatment  is 

poor  and  flat,  and  is  supplemented  by  red  paint  (i  180-85,  '  '<^7)- 

Hs.    I  ft.  7:s  in. — 8  in.        Doell,  iii,  6,    103  (1180). 

1,  cxiv,  809,  808,  807,  806,  811;  Ixvii,  448;  cxiv,  815  (i  178-84). 

184 


HELLENISTIC    STYLE 

HELLENISTIC    STYLE    AFTER    3OO    B.    C. 

After  the  reorganization  of  Alexander's  conquests  in  vast  terri- 
torial kingdoms,  the  conception  of  a  national  ideal  in  art  or  thought 
fell  out  of  vogue,  and  with  it  the  few  remaining  traces  of  traditional 
or  provincial  styles.  Yet  while  it  accepted  the  cosmopolitan  fashions 
of  the  Hellenistic  Age,  Cyprus  could  not  abolish  the  observances 
in  the  ancient  sanctuaries.  Side  by  side,  therefore,  with  common- 
place copies  of  the  later  representations  of  Greek  deities,  and 
the  new  schools  of  portraiture,  we  find  several  classes  of  sculpture 
which  are  either  peculiar  to  Cyprus,  or  better  represented  here  than 
elsewhere.  Chief  among  these  are  the  male  votaries  1 188-1203, 
which  thus  form  a  continuous  series  from  the  beginning  to  Graeco- 
Roman  times,  and  the  so-called  Temple-boys,  the  earliest  of  whom 
seem  to  belong  to  the  fifth  century  B.  C,  and  the  latest  to  the 
fourth  century  A.  D. 


1203 


1 188-1202.     Malu  VoTARihs.      The  dress  is  the  loose  tunic  and  w^n 
cloak  of  evervdav  (jreek  life;  but  \  K)]  and  i  H)-j  have  a  peculiar  Ceases 
flat  cap,  and  1  191  wears  a  chain  of  heads  and  pendant  amulets  '^^  '^'^ 
slung  over  one  shoulder  like  a  sword  belt.     As  both  the  cap 

185 


THE    COLLECTION    OF    SCULPTURE 

^^'■^'1  and  the  belt  are  worn  also  b\-  Tcmple-bo\s  1204-22,  in  Wall- 

,'  , ,  Cases  45-6,   it   is   possible   that   these  standing  figures   may 

themselves  represent  either  Temple-boys  or  some  similar 
class  of  worshipper.  Among  the  attributes  carried  by  the 
votaries  are  the  dove  (1104,  1196-8,  1202),  spray  of  leaves 
(1190),  apple  (1194,  I  196,  1198),  libation  bowl  or  other  vase 
(1  188,  1 199),  and  incense-box  (i  189,  1 193,  1 195:  compare  1202 
unusuall\'  large),  which  are  all  common  to  this  group  and  its 
predecessors.  The  work  is  poor  and  even  rough,  and  paint 
is  still  used  to  supplement  carving;  there  are  traces  of  red  on 
1 189,    1191-2.  H.   2   ft.    5I  in. — -1  ft.  5|- in.  Doell,  v, 

9,    153    (1188);    vi,  6,    135   (1190);  iv,   8,    132    (1191);  iv,   7, 
145   (1195);  vi,   2,    136   (1202);  Cyprus,  p.  240. 
I,  cxxxiv,  994  (1188);  cxxxvii,    1024-9   (1193-5-1-2:    1202-1). 

Wall    1203.     Male  Votary,  of  unusual  style,  resemblingtheearly  Hellen  ■ 
Case  istic  art  of  Northern  India,     it  represents  a  very  stout  figure 

'*'^  with  copious  wavy  hair  in  long  ringlets  to  the  shoulders.     It 

is  nude  above  the  waist,  and  clothed  below  in  a  loose  robe 
which  falls  to  the  ankles  and  is  confined  b\'  a  belt  with  long 
fringed  ends,  in  front  of  the  body  a  struggling  lion,  borrowed 
from  Herakles,  is  held  head  downwards  in  the  right  arm,  and 
the  left  arm  is  slightly  raised.  Both  lion  and  arm,  however, 
are  much  damaged.  It  may  have  been  the  artist's  intention 
to  reproduce  the  ancient  type  of  the  Lion-sla\er.  The  figure 
is  certainly  very  late  and  cIosel\'  resembles  the  Temple-bo\s 
1220-22.  There  are  traces  of  red  paint  on  the  drapery,  and 
yellow-brown  colour  on  the  feet.         H.  2  ft.       I,  Ixxxvii.,  579. 

Wall   1204-22.     Temple-Boys,  of  various   periods   and    st\ies.      These 
Cases  are  among  the  most  characteristic  \otive 

sculptures  of  C\'priote  sanctuaries,  and 
have  been  found  on  a  number  of  sites. 
Most  of  them  are  in  stone,  but  there  are 
also  cla\'  figures  like  1463  in  Floor-Case 
X,  and  2291-8  in  the  Collection  of  Terra- 
cottas .  .A  "Temple-boy"  is  an  infant  or 
young  lad,  usuall\'  stout  and  fleshy,  seated 
in  a  characteristic  attitude,  with  the 
body  resting  on  one  thigh  and  on  the 
hand  of  the  same  side,  while  the  other 
leg  is  in  a  sitting  posture,  with  the  foot  firmly  on  the  ground. 

186 


HELLENISTIC    STYLE 

Occasionally,  however,  the  Temple-boy  crawls  on  hands  and  Wall 

Cases 

45.4(> 


knees    (1212),   or  stands  erect  like  1188,  1193  above.     Some- 


times a  Temple-boy  is  nude,  but  the  com- 
monest dress  is  a  short  tunic,  often  sleeve- 
less, and  usually  drawn  up  in  front  so  as 
to  expose  the  groin;  rarel\-  the  ordinar\ 
full-dress  of  an  adult  is  worn  (12 13). 
The  head  is  generall\'  bare,  with  short 
curls;  but  sometimes  the  same  character- 
istic flat  cap  is  worn  as  on  1 193,  1 197 
above,    and     occasionally     a     Phrygian 

cap  with  a  soft  peak  (12 16).  Some  wear  earrings  (12 10- 
II,  1 2 18-9)  and  bracelets  (12 10,  12 17)  and  nearly  all 
wear  a  chain  of  beads  with  many  pendant  amulets,  including 
numerous  signet-rings.  This  chain  is  usually  worn  over  one 
shoulder  and  under  the  other  arm,  but  sometimes  as  a  neck- 
lace (12 18,  1220);  and  1 22  I  has  two  such  necklaces,  with  very 
long  central  pendants.  Similar  pendant  signets,  and  other 
amulets  are  included  in  the  Collection  of  Ornaments:  the  signets 
may  mean  that  the  wearer  was  custodian  of  Temple-treasures 
or  archives.  Similar  chains  of  pendant  signets  are  worn  by 
sculptured  figures  of  Graeco-Indian  style  of  which  the  Metro- 
politan Museum  has  examples  (Ace.  Nos.  13,  96,  i; — 33). 
Temple-bovs  often  hold  an  attribute  in  one  or  both  hands: 
of  these  the  commonest  is  a  bird  (1204,  121C),  1218,  1221-2) 
usuallv  swan  (1204-6),  do\e  (1208-9,)  or  cock  (121  i,  1220). 
Others  hold  a  hare  (121,,  1219),  or  a  tortoise  (1212  [two], 
12 14),  a  Oreek  emblem  of  Aphrodite;  others  again  ha\'e  an 
apple  (12  I  ^,  1222),  or  an  incense-box  (1207),  or  a  wreath  (12 10). 
H.   I    ft.    ^!^   in. — f).l  in. 

1,  cxxx-cxxxii,  ()73,  977,  963,  957,  960.  964,  943,  970,  978, 
()<So,  <)()(),  968,  955,  ()82,  961,  t)7 1 ,  <)75,  984,  976. 
The  chronologN'  of  these  figures  is  ncjt  easy  to  determine;  1204  is 
certainlv  not  later  than  the  fifth  cenlurv,  B.  (>.,  and  1205-6  ma\'  be 
as  early  as  the  fourth;  1207  also  shows  traces  of  (Ajiriote  sl\'le; 
but  the  majorilv  are  late  llelK'nistic  or  '  iraeco-Roman.  In  some 
of  the  latter,  tln-re  is  an  e\ident  attempt  to  gi\e  a  portrait  character 
t(j  the  head  (1207,  1213-5);  but  it  is  not  certain  that  the  head  <jf 
1 213  belongs  lo  the  botlw  FrobabK'  the  latest  examples  are 
1219-22,  which  pass  over  into  a  hea\\' barbaric  style,  with  a  likeness 
(which  can  hartil}'  be  accidental)  to  the  llellenizing  art  of  Persia 

187 


rUH    COLLHCTION    OK    SCULPTURE 

Wall  anJ  Norlhi'rn  India:  the  standing  figure  1203  is  in  the  same  bar- 
Cases  ,      •      ,1 
,.    .,    banc  sl\  le. 

No  satisfactor\'  explanation  has  been  gi\en  ot  these   leniple-boxs. 

I'he\-  are  commonest  in  C^\prus,  but  the  type  recurs  as  far  afield 

as  Carthage,  on  a  voti\e  or  funerar\-  relief  (Perrot-Chipicz,  III,  p. 

4^8,  tig.  327) :  the\'  are  ver\'  fullx'  discussed  b\'  l)e  Ridder,  Cataloiine 

lie  Clercq  [Antiqiiites  Chypriotes,   No.    16,    PI.  \ll.)        rhe\-    ma\' 

represent  real  children,  dedicated  to  the  service  of  the  sanctuary, 

like  the  infant  Samuel;  or  the  divine  child  tended  b\-  a  Nursing 

Mother,  as  Horus  hy   Isis;   or  the\'  ma\'   be  a  divine  companion 

of  a  goddess  like  the  Sxrian  Adonis,  or  the  Greek  Eros;  or  a  more 

independent  personage  like  the  Hg\ptian  Ptah-sekar,  whose  Greek 

successor    Harpokrates    becomes    blended    e\entuall\-    with    Pros 

in  a  ver\'  \ariable  series  of  late  cla\'  figures,  represented  by  2302-1(8 

in  the  Collection  of  Terracottas. 

Wall       7he   remainder  of  this  series  illustrates  the  ver\'  miscellaneous 

'  .„  offerings  which  were  occasionalh'  dedicated  at  the  larger  and  more 
47"?*-'  ' 

popular  sanctuaries  in  the  Hellenistic  .Age.      fhe  seated  hound  1223 

belongs  to  the  series  of  voti\e  animals  in  Wall-C^ase  40. 

Wall    1223.     Seated    Hound,    with    long   pointed    muzzle,    large   e\es, 
Case  small    erect    ears,   and   smooth   hair.     .-Xround   the  neck   is   a 

'^^  plain  collar  painted  red,  and  there  is  red  paint  also  on  the 

e\es  and  lips,  and  within  the  ears.  It  is  probabl\-  a  \otive 
offering  from  some  hunter.  Like  the  hare-and-hound  groups 
I  149-50,  which  show  the  same  breed  of  hound,  the  date  is 
uncertain,  but  it  cannot  well  be  earlier  than  the  fourth  cen- 
turw  H.  1  ft.  ()  in.  C\prus,  p.  114.  I,  cxxii.  1)08. 

1224.  Young  Man,  erect  and  nude  except  for  a  small  cloak  thing 
o\er  the  left  shoulder  and  secured  b\'  a  clasp.  His  right  hand 
rests  on  his  side;  the  left  carries  a  shepherd's  staff,  and  another 
object,  which  ma\'  be  the  skin  or  carcase  of  some  animal. 
Head,  right  arm,  left  hand,  and  both  feet  are  missing.  It 
is  perhaps  a  late  rendering  of  the  Shepherds'  Patron  i  i  14-8 
in  Wall-Case  37,  in  fair  Hellenistic  work.  H.  1  ft.  84  in. 

I,  cx\i,  8^0. 

1225.  SiLENUS,  missing  below  the  waist.  He  seems  to  ha\e  held 
a  wine-skin  under  his  left  arm.  Late  Hellenistic  v»ork,  \er\' 
rough,  with  traces  of  black  and  red  paint  on  the  head,  which 
alone  seems  to  ha\-e  been  finished.  H.  i  r^  in.  l.li\-,  34(1, 

1226.  Child-Birth  Group,  in  careless  Hellenistic  st\ie,  perhaps 

188 


HELLENISTIC    STYLE 

not  made  in  Cvprus.      The  mother  reclines  on  a  high  couch,    Wall 
and  is  supported  behind  by  a  standing  attendant.      Bv  the    Case 
foot  of  the  couch  another  attendant  holds  the  infant.     Similar   '^^ 
votive  groups  are  found  in  all  styles,  both  in  stone  and  in 
clay;   the   latter   go   back    far    into    the     Earlv     Iron    .Age. 
H.  6^  in.       L.  9|  in.  Doell,  vi,   i,   174.  I,  Ixvi,  435. 

1227.  Votive  Slab,  for  deliverance  from  organic  disease.  Carved 
on  the  slab,  in  a  late  style  of  relief,  are  two  breasts  and  another 
object  obscurely  representing  some  internal  organ.  (Compare 
the  smallervotive  offerings  of  this  class  1675-87  in  Wall-C^ase  75. 
H.  1  ft.  3  in.     W.  I  ft.  5I  in.     C\prus,  p.  i  yH.     1,  cxxii,  9  k). 

1228-30.  PiNH  Cones  (1228-9)  and  Pedestal  ('1230)  in  late 
Hellenistic  st\le.  The  cones  end  in  square  dowels  to  fit  a 
socket  like  that  in  the  top  of  the  pedestal,  which  is  of  conical 
shape  with  fluted  surfaces  between  heav\-  cable-mouldings. 
The  pine-cone  is  a  Greek  symbol  of  Apollo  and  also  of  Dion\sos, 
and  has,  besides,  wide  popularit\'  in  decorati\e  art.  These 
votive  cones  are  common  on  late  Greek  sites  and  are  in  no 
wa\' peculiar  to  C>prus.  Hs.  9^  in. — 7  in.  Colonna-Ceccaldi, 
p.  84.  1,  cxxi,  889,  885,  886. 

1231.  Young  Oriental  Votary  in  a  loose  tunic  with  slee\-es  to    yy,j|| 
the  wrist;  a  double  belt  knotted  in  front  with  long  ends;  and    Case 
a  heav\'  cloak  of  Oriental   fashion.     There  are  traces  of  red    4^ 
paint  on  the  dress.      Ihe  head  is  separate,  but  certainlx'  be- 
longs to  the  bod\';  it  has  hea\>'  earrings,  and  a  Persian  cap 
with  long  ear-tlaps  falling  on  the  shoulder,  and  a  single  row 

of  l(jng  curls  below  its  margin.  The  left  arm  rests  easih'  on 
the  girdle;  the  right  is  missing.  Similar  figures  from  other 
regions  hold  an  apple  in  the  right  hand,  and  ha\e  therefore 
been  described  as  "Paris  with  the  Apple;"  but  in  (]\prus  an 
apple  is  a  common  offering  or  attribute  of  xotaries.  ( j)mpare 
the  figures  in  the  same  costume,  i3Soin  floor-Case  W'l  1 ;  and 
the  cla\  figures  22()()-2]n\  m  the  Collection  of  ferracottas, 
and  1846  in  the  Ojllection  of  Inscriptions;   II.  8  in.    l,cxx,S76. 

1232.  Orator,  in  short-sleeved  tunic  and  full  cloak,  which  is 
thrown  back  to  leaxi'  \hc  right  arm  free.  Ihe  head  and  legs 
are  missing.  Ihe  hamK  arc  clcncln'd  logethi'r  slightK  to 
the  left,  and  the  intention  is  rxidrnt  to  cop\-  the  well-known 
statue  of  nvmosthenrs;  but  the  workmanship  is  \er\'  rough, 
and  the  st\lf  late.  II.  7^111.  i.cxx,  874. 

189 


THE    COLLECTION    OF    SCULPTURE 

\^'i'i    1233-15.     PoKT,  in  sleeved  tunic  and  cloak,  seated  in  a  chair  which  is 
Case 

-8  supported  (in  1233)  by  horned  animals,  like  1  173.     On  the  lap 

of  the  figure  is  spread  a  roll  of  manuscript,  on  which  the  right 

hand  rests,  holding  a  pen.      The  left  arm  is  broken,  but  seems 

to  ha\e  held  a  bird,  of  which  the  tail  remains.      These  details 

are  only  seen  clearl\-  in  1233;  the  figures  1234-5  are  executed 

in  the  same  flat  style  as  the  late  Nursing  Mothers   1130-1; 

and    1234  has  red  paint  on  the  dress.     All  three  heads  arc 

separate,  and  do  not  seem  to  belong  to  the  bodies.        Hs.  i  ft. 

3-1^6  in.,      12^  in.,      ii|in.      I,  cxvi,  838  (1233);  Ivii,  362  (1234). 

Wall    1236.     Warrior,  standing  in  a  defiant  attitude,  with  legs  wide 
Case  apart.       He   wears   a   short-sleeved   tunic,    breast-plate  with 

'*9  armoured   kilt,  and  a  cloak  fastened  on   the  right  shoulder. 

At  his  left  side  hangs  a  short  Roman  sword.  On  his  head 
which  is  separate,  but  belongs  to  the  bod\',  is  a  pointed  heJmet 
with  loose  scrolled  brim.  He  wears  a  square  beard,  in  late 
Hellenistic  fashion.  Both  hands  are  missing,  and  both  feet 
above  the  ankle.  The  workmanship  is  rough  but  vigorous, 
with  man\'  traces  of  red  paint.  The  style  is  influenced  bv 
the  romantic  naturalism  of  Pergamon.         H.  i  ft.  3I  in. 

1,  cxvi,  840. 

Wall    1237.     Seated  Woman  with  two  Children,  one  of  whom  she 
Case  holds  in  her  lap,  while  the  other  stands  b\'  her  right  knee. 

She  wears  a  full  Doric  chiton,  and  a  cloak  which  passes  over 
the  head  like  a  \eil,  and  falls  on  both  shoulders.  The  seated 
child  wears  an  infant's  short  tunic,  the  other  the  same  long 
tunic  and  cloak  as  are  worn  by  \oung  votaries.  .AH  three 
heads  are  missing.         H.    i   ft.  4',   in.  1,   Ixvi,   436. 

1238.  P'emale  Lyre-Player,  standing,  in  Doric  chiton  and  cloak. 
She  plavs  a  lyre  of  Greek  pattern,  which  is  secured  b\'  a  sling. 
The  workmanship  is  poor  and  late,  and  there  are  some  traces 
of  red  paint.  H.  2  ft.  10  in.  Doell,  \  i,  3,  169.  C\  prus, 
p.  1 54.  1,  cii,  676. 

1239.  YoL'NG  Man  in  long  tunic  with  sleeves,  over  which  is  a 
long  Doric  chiton  to  the  feet,  with  deep  overfold,  clasped 
on  both  shoulders  and  secured  b\-  a  rosette-patterned  belt. 
Another  belt  passes  over  the  right  shoulder  and  under  the 
left  arm.  The  head  is  separate  but  belongs  to  the  bod\',  and 
has  large  masses  of  wav\-  hair  falling  over  the  ears  beneath 
a  crown  of  large  leaves.     The  st\le  is  free  and  vigorous  like 

190 


48 


HELLENISTIC    STYLE 

that  of  1319-21  in  Floor-Case  XV,  and  the  workmanship  is  Wall 
above  the  average:  there  is  red  paint  on  the  hair  and  on  the  y 
dress-borders.  A  peculiar  feature  is  that  the  eyes  are  hollowed 
out  and  filled  with  hard  white  stone,  in  which  the  pupils  are 
rendered  with  a  circular  drill.  Both  arms  are  missing,  and 
the  meaning  of  the  figure  is  not  clear.  It  has,  however,  a 
general  resemblance  to  late  Greek  types  of  Apollo,  H.  1  ft. 
8f  in.         Doell,  vi,  7,  172.     Cyprus,  p.  153. 

The  following  deities,  in  late  Greek  pose  and  style,  are  said  to  have  Wall 

come  from  the  ruins  of  a  temple  excavated  by  Mr.  R.  Hamilton  Cases 

Lang  at  Pyla,  on    the   coast   a   few   miles   east   of  Larnaca.     The  ' ' 
inscription  1854  is  from  the  same  locality. 

1240-2.  Artemis,  standing,  in  long  Doric  chiton  to  the  feet  with 
girdle,  and  overfold  to  the  knee.  A  quiver  is  slung  behind 
the  right  shoulder,  and  the  right  hand  caresses  a  fawn.  The 
left  hand  of  1240  holds  an  apple.  The  three  figures  differ 
slightly  in  detail,  and  1241  has  the  fawn  on  the  left  side,  whither, 
however,  the  right  hand  follows  it.  The  heads  of  1240,  1241 
are  separate,  but  seem  to  belong  to  the  bodies.  The  style  is 
late  and  the  workmanship  very  poor.     Hs.  2  ft.if  in.—  1  ft.  9  in. 

1,  cxvii,  849,  853,  854. 

1243.  Artemis  or  Hecate,  in  short  tunic,  girdle,  and  hunting 
boots  with  falling  tops.  From  the  right  shoulder  hangs  a 
quiver,  and  in  the  left  hand  is  a  long  staff  which  may  be  a 
torch  holder,  but  is  broken  above.  The  head  is  separate  and 
does  not  belong  to  the  body  for  certain.  The  work  is  poor, 
and  there  is  red  paint  on  eyes,  ears,  boots,  girdle,  and  staff. 
H.  I  ft.  8  in. 

1244.  Hecath,  standing,  in  long  Doric  chiton  with  deep  overfold. 
She  holds  torches  in  both  hands.  The  head  is  separate  and 
does  not  belong  to  the  body  for  certain.  There  are  traces 
of  red  paint  on  e\'es,  hair,  and  chiton.  H.  i  ft.  8^  in. 
Cyprus,  p.  152.  1,  cxvi,  841. 

1243.  Artemis,  standing,  in  long  tunic  with  oxerfokl;  quiver 
behind  the  left  shcjulder,  and  a  fawn  on  the  left  arm.  I'he 
head  is  separate  and  does  not  belong  to  the  bocl\'  for  certain. 
There  is  red  paint  on  the  tunic.  H.  i  ft.  7^  in. 

1246.  Cjoddess  or  Votary,  erect,  in  long  tunic  and  mantle, 
holding  in  the  left  hand  a  l,iird  which  she  feeds  with  the  right. 

191 


THI-;    COLLHCTION    OF    SCULPTURE 

Wall  ■]|^^>  head   is  separate  and  does  not   belong  to  the  b()d\-   for 

Cases  , ,         .  .   .  ,  .' 

49,  50  certain.  H.  i  tt.  iigin.  I,  cxvi,  843. 

1247-f).  F"e.mali;  N'otarv,  standing,  in  long  full  tunic  and  cloak 
drawn  o\er  the  head  like  a  \eil  and  held  b>'  the  right  hand 
to  the  left  of  the  face.  Below,  it  is  drawn  across  the  right 
arm  and  falls  o\er  the  left  arm.  The  left  hand  either  holds 
an  apple  (1248)  or  is  concealed  in  the  cloak  (1246,  1247). 
The  head  of  1248  is  separate,  but  seems  to  belong  to  the  bodw 
The  pose  is  that  of  Graeco-Roman  portrait  statues  like  the 
well-known  "  Lad\' of  .Antioch,"  and  recurs  in  the  lifesize  statue 
1404  in  W'all-C^ase  64  of  the  .Annex.  Hs.  i  ft.  11  in. —  1  ft.4gin. 
Colonna-CA'Ccaldi,  PI.  xvi.  3  (1248).  1,  cxxxiv,  990  (1248). 

1250.  Femalh  Votary,  standing,  in  long  full  tunic  and  cloak, 
and  high  sandals.  The  head  and  right  arm  seem  to  have  been 
made  separatel\',  and  are  missing.      H.  2  ft.  2  in. 

SPFCIAL  serif:s  of  heads  and  larger 

FIGURES 

FLOOR    CAStiS    XI-X\1I    AND    CENTRE    CASES    A-G 

The  T\pe-Series  of  Sculpture  1001-1250,  which  occupies  the  Wall- 
Cases  29-30,  consists,  for  con\enience,  almost  entirel\'  of  figures 
small  enough  and  of  sufficient!}'  uniform  size  to  be  easily  grouped, 
so  as  to  gi\c  a  general  impression  of  each  st\ie.  In  Floor-Cases 
XI-X\'1I  this  introductorv  series  is  supplemented  h\'  a  number 
of  heads  from  larger  statues,  man\'  of  which  were  of  life  size,  or 
even  larger  scale.  With  these  heads  it  is  possible  to  stud\'  in  detail 
the  treatment  of  c\es,  hair,  and  other  features,  which  are  important 
marks  of  st\le  and  date,  but  were  imperfectly  represented  on  figures 
of  smaller  scale.  These  heads  are  arranged,  like  the  smaller 
figures,  in  sequence  of  st\les,  beginning  from  the  earl\'  Oriental 
st\'le  in  Floor-Case  X! :  and  with  them  are  grouped  other  pieces  of 
sculpture  of  exceptional  size  or  interest,  belonging  to  each  successi\e 
style. 

In  the  Centre-Cases  A,  B,  C,  are  placed  a  few  life-size  statues,  selected 
from  the  large  series  in  the  Students'  Collection  downstairs;  and  in 
D,  E,  F,  G,  the  large  sarcophagi  and  other  examples  of  relief- 
work  and  monumental  sculpture.  These  in  turn  form  an  intro- 
duction to  the  series  of  sculptured  tombstones  which  occup\'  the 
Wall-Ceases  51-72  in  the  Annex. 

tQ2 


ORIENTAL    STYLE 

EARLIEST    PHASE,    NOT     YET    MUCH    AFFECTED     BY 

ORIENTAL    INFLUENCES 

ABOUT  750-700    B.  C. 

This  rare  and  interesting  group  probably  represents  a  phase  of  Floor 
Cypriote  sculpture  earlier  than  that  in  which  Assyrian  influence  ^'j^*^ 
becomes  predominant.  The  faces  are  heavy  and  square,  with  well- 
marked  eyebrows  and  eyelids,  and  small  firm-set  mouth,  without 
beard  or  moustache.  In  some  respects,  the  technical  skill  recalls 
that  of  the  sculpture  and  modelled  plaster-work  of  the  Minoan 
civilization,  and  it  is  possible  that  something  of  this  ancient  tradi- 
tion may  have  persisted  among  Aegean  colonists  in  Cyprus,  long 
after  it  had  faded  from  their  mother-lands.  This  comparison  is 
supported  b\-  the  characteristic  frontlets  with  rosettes  or  leaf-pat- 
terns, like  those  of  the  Later  Bronze  Age,  3002  ff.,  in  the  Collection  of 
Ornaments,  and  by  the  peculiar  costume,  derived  from  the  Minoan 
loin-cloth,  on  full-length  figures  of  the  same  style,  1040-7  in  Wall- 
C-ases  31-33.  Nevertheless,  the  st\Ieof  these  heads  passes,  without 
break,  into  the  Mixed  Oriental  style  with  AssN'rian  and  Egyptian 
influence,  and  rosette  frontlets  are  also  worn  by  Assyrian  courtiers 
of  the  early  seventh  century.  The  date  of  these  examples  is 
probably  not  much  earlier  than  700  B.  C;  and  as  a  number  of  the 
male  figures  in  Hittite  sculpture,  and  on  engraved  stones  of  Hittite 
st\le  from  .Asia  .Minor  and  North  S\'ria  are  beardless  like  these 
heads  (compare  4309  in  the  (Collection  of  Engraved  Cylinders), 
it  is  certain  that  some  allowance  must  be  made  for  mainland  in- 
fluence. Nothing,  however,  can  be  ascertained  at  present  as  to 
the  relative  age  of  the  (Cypriote  and  the  Hittite  work. 
:\  third  comparison  must  be  made,  with  the  earliest  large  heads 
of  modelled  clav,  like  145 1-2  in  Fl()or-(Case  X.  The  series  from 
sanctuaries  at  Tamassos,  Idalion,  and  othtT  (Cypriote  sites  proves 
these  to  belong  to  an  earlier  period  than  those  with  .Assyrian  feat- 
ures; they  pass,  however,  without  break  into  the  y\ssvrianizing 
series,  in  the  same  way  as  the  stone  heads,  and  probably  represent, 
like  them,  the  native  art  of  the  later  eighth  century. 
125 1-5.  Bi-:ARr:)LESS  Hhads  of-  .Mali-:  VoiARihs,  wearing  frontlets 
with  rosettes  (1251-2-4-,)  anti  leaf  patterns  (1253),  within 
raised  bfjrders  (1252-4-5),  \yithin  \yhich  the  background  is 
coloured  red  ('1255)  or  cross-halched  with  fine  lines  (1254, 
compare  1040).  In  the  ears  n\  1251-4-5  are  pairs  of  earrings 
(jf  early  form,  like  3115  in  the  ( ^((llection  of  Ornaments.      The 

it)3 


Floor 

Case 

Xl 


IHE    COLLECTION    OF    SCULPTURE,    SPECIAL    SERIES 

hair  falls  behind  the  neck  in  a  smooth  mass  (1254)  as  if  worn 

long  with  the  ends  caught  up-)  into  the  frontlet;  in  1253  two 

,   .,      rows    of    small   curls  appear  under  the 

frontlet  on  the  forehead,  as  in  the  later 

figures  of  similar  type  1044  in  Wall-Case 

^2.     Closest    similarity    with    the  early 

terracotta  heads  is  shown  by  1254,  with 

its    prominent    nose   and    pointed    chin' 

1253   shows    Assyrian    and    1255    slight 

I'.gyptian  influence.      Hs.  iij  in.— 6|  in. 

Doell,  ix,  4,  330  (1251).  1,  xix,  32,29, 

(125  1-2);  xix,  36,  30  (1254-5). 
'-7 ' 

1256.     Beardless  .Male  Votary,  about  half  life-size,  in  the  same 

st\le  as  the  heads   1251-5,  and  the  smaller  figures  1040-7  in 

Wall-Cases  31-2.     He  stands  with  right  leg  slightl\-  advanced, 

and  both  hands  hanging  by  the  side;  but  both  feet  and  the 

right  arm  are  broken  away.     The  head  is  separate  but  seems 

to  belong  to  the  body.     It  has  the  characteristic  frontlet  with 

rosettes  and  raised  borders;  below  it  appears  a  single  row  of 

small  curls.     The  dress  is  unusual:  the  close-fitting  tunic  seems 

to  pass  at  the  waist  into  a  plain  Cypriote  loin-cloth,  as  in 

1040-7;  but  instead  of  a  waist-belt,  a  kind  of  kilt  is  tied  around 

the  hips,  falling  low  behind,   but  tapering  to  points  which 

are  knotted  loosel\-  in  front.     The  nearest  parallel  is  offered 

b\-  the  dress  of  Hittite  figures;  but  the  likeness  is  not  exact. 

This  kilt  is  coloured  red,  and  there  are  other  traces  of   red 

paint  on  the  figure.  H.  3  ft.  |  in.  Doell,  iii,  9,  67. 

Perrot,  fig.  371.  1,  xi,  13. 

ORIENTAL    STYLE    UNDER    MAINLY    ASSYRIAN 
INFLUENCE,  ABOUl    7OO-65O  B.  C. 

The  influence  of  Assyrian  fashion  is  chief!}'  shown  in  the  prevalence 
of  beards,  worn  long  and  square  and  artiticiall}'  curled;  though 
something  must  be  allowed  for  decorative  and  conventional  ren- 
derings. The  eyes  are  large  and  prominent,  and  slightly  upturned 
outwards.  The  eyebrows  are  rather  arched,  the  cheekbones  high, 
the  lips  vigorously  rendered,  and  the  whole  expression  is  aggressive 
and  brutal.  For  the  pose  and  costume  of  the  figures  to  which 
these  heads  belonged,  compare  the  life-size  statues  1352-3  in  Centre- 
Case  A. 


194 


ORIENTAL    STYLE 

The  pointed  helmet  worn  by  these  figures  has  been  described  as  Floor 
Assyrian,  but  is  neither  the  conical  cap  of  metal  used  by  Assyrian  V'l^^ 
soldicrv  nor  the  elaborate  tiara  of  kings  and  high  officials:  the  near- 


est Assx'rian  Ivpc  belongs  to  the  reign  of  1  iglal  !i-[iileser  (745-727 
B.  (I.)  and  disajipears  later.  Its  shape  more  closeh'  resembles  the 
helmets  of  figures  in  llittite  rehrfs,  and  of  an  earl\'  class  of  bron/e 
statuettes  from  S\ria  and  other  parts  of  the  L.e\ant.     A  common 

195 


TUn    COLLECTION    OF    SCULPTURH,    SI'LCIAL    SERIES 

Floor  type  of  late  Minoan  helmet  has  the  same  outline,  and  occasionally 
'^V  shows  neck-guard  and  cheek-nieces,  but  is  quite  differently  con- 
structed, with  rows  of  boar-tusks  or  other  hard  plates  on  a  leather 
backing.  But  there  is  no  precise  parallel  outside  Cyprus,  where 
this  cap  ct)mes  into  use  in  the  Earlv  iron  Age,  and  was  not  super- 
seded by  Greek  solid  helmets  till  the  sixth  century.  It  consists 
of  a  cap  of  flexible  leather  reinforced  by  an  external  frame  of 
Hat  metalwork,  and  running  up  to  a  peak,  sometimes  flexible, 
sometimes  replaced  by  an  ornamental  knob.  The  leather  panels 
were  sometimes  quilted  or  embroidered,  or  perhaps  even  replaced 
by  plaited  strap-work  like  the  helmet  of  Merioncs  in  Homer  (Iliad 
X.  263).  The  metal  rim  fits  closely  round  the  temples,  only  oc- 
casionall\'  exposing  a  row  of  small  curls  over  the  forehead.  On 
either  side  are  ear-flaps  or  cheek-pieces  of  the  same  construction, 
designed  to  be  tied  under  the  chin,  but  generally  raised  and  secured 
by  their  chin-straps  on  top  of  the  helmet,  either  in  front  of  the 
peak  or  behind  it. 

1237.  Colossal  Hhl.meted  Head  of  a  Bearded  Votary,  very 
severel\-  and  simply  modelled.  The  helmet  is  smooth,  and 
the  beard  consists  of  four  massi\e  locks, 
each  ending  in  a  single  curl.  It  is  possible 
that  the  colossal  feet  (1257-a)  ma\'  be 
from  the  same  figure.  H.  2  ft.  lof  in. 
Doell,  viii,  6,  237.  Colonna-Ceccaldi, 
PI.  iii.  2.  C\prus,  p.  123.  Perrot,  fig.  354. 
1,  xxxix,  253  (head);  Ixxxv,  354  (feet). 

1258-60.  HhL.METED  Heads  like  1237,  but 
not  much  o\er  life-size.  Ihe  style  of 
1258  is  still  thoroughl)-  Oriental,  but  the 
terminal  coils  of  the  beard  arc  gone;  in 
125CJ-60   the    straight   subdixisions    \an- 

ish;  and  the  beard  of  1260  is  wedge-shaped,  in  Greek  fashion: 
the  features  also  arc  more  western.  The  cap  of  1238  is 
low  and  frameless,  and  the  chin-straps  are  knotted  together 
over  the  forehead;  that  of  1260  shows  well  the  ilat  frame- 
work and  smooth  panels.  Hs.  i  ft.  6  in. —  i  ft.  2^  in. 
Doell,    viii,    10,    243    (1238).  1,    xxxv,    222  (1238);  xlix, 

289   (I23(}). 

1261.     Beakdi-.d  Head  of  smaller  scale,  in  a  style  which  combines 
the  qualities  of  the  beardless  heads  123  1-3  with  the  hair  and 
196 


ORIENTAL    STYLE 


beard  appropriate  to  127 1-2  in  Floor-Case  XII;  with  close- 
fitting  cap  like  that  of  some  early  clay  figures,  which  have 
the  same  prominent  nose,  pointed  chin,  and  "feathered" 
eyebrows.  The  beard  is  rendered  by  a  smooth  surface  painted 
red,  and  there  is  red  also  on  the  lips,  eyeballs,  and  tunic- 
border.  In  the  lobe  of  each  ear  is  a  double  earring,  as  in 
1251.  H.  5j  in. 
1262.  STATUtTTE  OF  A  Lady  OF-  Rank.  This  remarkable  little 
figure  represents  a  woman  of  mature  age,  in  Assyrian  dress, 
standing  on  a  square  bracket,  which  is  supported  by  the  heads 
of  two  human  figures  and  another  object  now  broken  awav. 
The  bracket  seems  to  have  decorated 
some  larger  object.  The  figure  steps 
forward  briskly,  with  the  left  foot  in 
advance,  as  in  the  far  poorer  figure 
loi  I  in  Wall-Case  29.  The  head  is  held 
high  and  the  right  hand  is  raised  in  a 
gesture  of  command;  the  left  holds  a 
mirror  and  raises  a  fold  of  the  skirt. 
The  hair  is  dressed  in  transverse  rolls 
and  rows  of  curls,  confined  by  a  broad 
frontlet;  long  plaits  descend  in  front  of 
the  shoulders,  and  a  veil  or  dense  mass 
of  hair  falls  behind  them.  The  dress 
consists  of  a  long  tunic  falling  to  the 
ankles,  and  gathered  in  transxerse  folds 
or  flounces.  Over  this  is  a  heav\-  cloak 
which  falls  in  deep  folds  from  the  right  ,,(j2 

shoulder    over    the    right    arm,   and   i-., 

caught  up  helow  b\'  the  left  hantl.  Its  upper  edge  is  folded 
obliquel\'  oxer  the  breast,  and  the  lower  has  a  deep  border  or 
fringe,  with  zigzagornament.  A  rectangular  satchel  is  slung  b\' 
a  belt  from  the  left  shoulder.  Two  rich  necklaces  are  worn, 
together  with  pendant  earrings  and  lion-headeii  bracelets. 
Though  the  scale  is  small,  these  details  are  carefullx'  and  xigor- 
ouslv  rendered,  with  rare  freedom  of  pose  and  gesture;  \'et  the 
close  observance  of  Oriental  costume  and  the  absence  of  Eg\'pt- 
ian  influence  seem  to  preclude'  a  lower  date  than  about  700-050 
P>.C,  11. Sin.  Doeil,  i,  2,2s.  (:(.lonna-Ceccaldi,  Pl.xiii 
f"  Astarte  sur  le  Pavois  ")■  C\prus,  p.  157.  Pernjt,  fig.  51X5. 
1,  Kii,  3(15. 

197 


Floor 
Case 
XI 


Case 
XI 


THF.    COLLECTION    OF    SCULPTURE,    SPECIAL    SERIES 

1263.  I-^HMALE  Votary,  Standing,  in  long  foldlcss  tunic  and  close 
cap.  The  right  hand  holds  a  flower  in  front  of  the  breast. 
The  features  are  quite  hea\>'  and  expressionless.  Note  the 
double  necklace,  the  spiral  earrings,  and  the  long  pendants 
in  the  lower  lobes  of  the  ears.  This  is  t\pical  of  a  very 
large  number  of  votive  statuettes  from  the  sanctuaries  of  the 
Paphian  Goddess  at  Idalion  and  elsewhere,  from  the  seventh 
centur\'  onward;  though  the  actual  examples  of  the  spiral 
earrings  represented  here  are  mostl>'  of  the  following  centuries. 
H.  2  ft.  6  in.         Doell,  i,  8,  21. 


MIXED    ORIENTAL    STYLE,    WITH    MAINLY 
EGYPTIAN     INFLUENCE 
ABOUT   650-350    B.    C. 

Floor   Characteristic  marks  of  Egyptian  influence  are  (i)  the  kilt  which, 

*"'}^^    in  Cx'prus,  often  has  its  centre  panel  and  belt  richl\'  embroidered, 

and  is  worn  with  a  skin-tight  tunic,  short-sleeved  and  embroidered 


at  the  seams;  (2)  the  heavy  smooth  wig,  enclosing  the  forehead, 
and  falling  behind  the  cars,  nearl\-  to  the  shoulders;  (^3)  the  slender 
proportions,  square  profiles,  and  stiff  expectant  pose  of  the  stand- 
ing figures;  (4)  the  le\el  e\'es,  straight  narrow  nose,  and  clean- 
sha\  en  face,  with  small  delicate  mouth  and  pointed  jaw;  and  (3) 

198 


MIXED    ORIENTAL    STYLE 


the  smooth  broad  surfaces  natural  to  a  school  of  sculpture  which 
had  been  disciplined  for  centuries  by  work  on  refractory  basalts 
and  granites,  shaped  not  with  knife  and  chisel,  but  by  sawing, 
hammering,  and  rubbing. 

The  pointed  cap,  howexer,  is  still  sometimes  worn,  in  new  and 
decorative  varieties,  instead  of  the  wig,  and  as  Greek  influence 
comes  in,  the  mass  of  hair  breaks  up  into  small  curls,  and  a  close- 
trimmed  beard  is  indicated,  first  by  a  smooth  surface  following 
the  contours  of  the  face,  and  later  by  many  rows  of  small  curls. 
The  "feathered"  treatment  of  eyebrows  and  moustache  is  an  in- 
heritance from  the  Assyrian  style,  and  from  the  incised  detail  on 
large  terracottas  like  1433-7  in  Floor-Case  X.  There  can  be  little 
doubt  that  these  simple  devices  for  rendering  the  hair  were  originally 
enhanced  with  colour;  as  on  the  smaller  figures  in  the  Wall-Cases. 

1264.  Flute-Player,  about  half  life-size:  only  the  upper  part  is 

preserved.     He  wears  the  tight      _.,        _^_ 

short-sleeved    tunic,   and    plav'S      i  ' 

the  double  pipe  with  both  hands,  ►     ^ 

using  a  mouth-band  like  the 
Flute-Players  1024-6  in  Wall- 
Case  30.  H.  I  ft.  4  in.  Doell, 
ii,  5,  52.  I,  xiii,  15. 

1265.  Harp-Player,  in  the  same 
scale  and  style  as  the  Flute- 
Player.  The  harp  is  of  the  tri- 
angular Oriental  form,  with  its 
pillar  rising  from  a  scrolled  basi' 
to  a  floral  capital,  and  the  head 
of  a  leonine  griffin.  H.  i  ft. 
(>  in.                                 1,  xii,   14. 

\2()C).  Princely  \'oTARY,  standing, 
in  rich  kilt  and  a  pointed  cap, 
with  raised  side  flaps,  decorated 
\\ith  lotos  flower  borders  and  a 
rosette  in  front.  He  wears 
double  earrings  (either  spirals, 
or  pairs  of  the  boat-shaped  tvpe 
31O6  IT.)  and  a  triple  iH'Ctor;il 
collar,  consisting  of  kjtos  petals, 
concentric   semicircles  and  shaded  triangles.      The  tunic  is  not 


Fiooi 
Case 
Xll 


1200 


199 


Xil 


TH1-;    C.()Ll.i;c:il()N    0\-    SCULPlURli,    SPLCIAL    SliRIHS 

shown,  and  is  perliaps  absent,  as  in   the   r<)\al   hgure    136:5   in 

C^entre-C'ase  C.      The   right   arm   hangs   hv  the  side;  the  left 

rested  on  a  tiui\er  or  sword  hilt  (now  broken)  which  is  suspentl- 

ed  from  the  left  shoulder  b\   a  double  sling.      Each  upper  arm 

has    spiral  bracelets.      1  he    belt    of   the   kilt   has   a   clasp   of 

crossed    volutes,    supporting   an    Eg\'ptian    solar    disc.      The 

lateral  folds  of  this  kilt  are  care- 

fullv     rendered,    and    its  central 

panel  is  embroidered  with  an  e\e 

above,  then  a    .Medusa-head  with 

coiled    snakes,    then    a    pair     of 

Egyptian    winged    uraeus-snakes. 

The  feet     are    broken    awa\'     at 

the    knee,    and    the    head  shows 

signs     of    exposure    to    fire.      H. 

I  ft.  1I4  in.     Doell,  ii,  7,39;  C^x- 

prus,  p.  154;  Perrot,  fig.  350- 

I,  xlii,  2-j(). 

1267.  .M.ALE  \\n.\RY,  standing, 
in  a  rare  stvle,  with  broad  flat 
treatment  under  strong  Egyptian 
influence.  The  forehead  has  rows 
of  small  curls;  the  tunic  is  elabo- 
ratel\-  decorated  with  seams  and 
strips  of  lotos  ornament,  like  the 
painted  terracotta  figures  from 
Salamis,  in  the  British  Museum; 
Caialogue  of  Terracottas,  A  106- 
122.  The  right  arm  is  held 
across  the  bod\-;  the  left  hangs 
down.  The  belt  and  kilt  are  orna- 
mented with  uraeus-snakes,  and 
floral  designs  in  the  centre  panel. 
The  legs  are  bare,  with  ornate 
santlais  on    the  feet,  which   rest  1207 

on  an  irregular  base.  The  left 
leg    has     been     restored.       H.  2  ft.  4],  in. 

1,  XXX,  201 . 


126S.      Haw  K-iii-.Ai)i.i)  lu.rKi;  in  kilt  and  belt :  no  tunic  is  shown. 
1  he  arms  are  held  across  the  bod}'.      There  is  red  colour  on 
200 


MIXED    ORIENTAL    STYLE 


the  belt  and  kilt.  Compare  the  .Masked  Dancers  in  Ass\rian 
dress  1029-31  in  Wall-Case  30.  in  lig\pt  the  hawk  is  the 
emblem  of  Horus  who  is  often  identified  with  Ra  the  Sun-God, 
and  consequenll}'  would  be  a  natural  attribute  for  an  Egxptian 
votary  to  dedicate  to  Apollo,  who 
is  Sun-God  among  the  Greeks. 
H.  I  ft.  3f  in.  Perrot,  fig.  413. 
1,  xxiv,  58. 

1269-70.  Be..\rdless  Heads  of  Male 
Votaries,  wearing  the  close-fil- 
ting  wig  with  a  border  or  frontkl 
on  the  brow;  the  wig  of  1269 
seems  to  be  parted  in  the  middle, 
and  its  texture  is  rendered  bo- 
rough tooling;  the  e\ebrows  of 
1270  are  rendered  b\'  zigzag  tool- 
ing, and  the  features  show  some 
Hellenic    influence.  Hs.  i  ft.. 

I  ft.  3^  in.         I,  xxiii,  54,  (1270). 

1 271-3.  Bearded  Heads  with 
smooth  hair  or  wig,  like  1269-70. 
The  beard  and  e\ebrows  are 
rendered  in  low  relief;  quite 
smooth  in  127 1-2,  but  the  beard 
of  1273  has  irregular  zigzag  tool- 
ing. Below  the  neck  of  1272  is 
a  band  of  triangular  lotos-petals, 
perhaps  the  border  of  the  tunic. 
Hs.  I  ft.  1 1  in. —  iij  in.  Doell, 
ix,  6,   310;  7,  31 1;  O272).     C\prus,   p.  141. 

1,  xxiii,  '-,2  (1272);  53  (1271). 

1274-6.  Bearded  Heads  in  C^i-riote  Hi  imets,  of  which  the 
cheek-pieces  are  usuallx'  raisetl,  and  show  a  wig-like  mass  be- 
hind the  head:  in  1276,  howe\er,  the\'  hang  down,  and  quite 
conceal  the  hair.  The  ewbrows  are  in  relief,  and  zigzag 
tooling  is  used  on  1273-6.  Double  earrings  are  worn  b\'  1  274. 
There  is  red  colour  on  the  lips  of  i27().  W'ilh  this  group  com- 
pare the  full-length  slatui'  ns4  in  Cmlre-C^ase  .\,  which 
though  beardless  has  this  combination  of  helnuT  and  smooth 
hair.  I  Is.  10  in.  —  5  ]  in. 

1277.      l)i,ARi)i.i-,ss   Head,   in   closi'-litting  cap  or  wig,  but  of  the 


Floor 
Case 
XII 


1268 


Floor 

Case 

Xll 


THE    COLI.F.CTION    OF    SCULPTLIRH,    SPECIAL    SERIES 

square  Assyrian  proportions.  The  eyes  are  large  and  promi- 
nent, like  those  of  the  smaller  figures  in  this  mixed  style. 
H.  4|  in. 
1278.  HiAi)  OF  A  I'luth-Player,  like  1264,  with  double  earrings, 
and  evebrows  in  relief.  The  mouth-band  was  rendered  in 
paint  onl\.  H.  6^  in.  I,  Ixxi,  458. 


Floor 
Case 
XIII 


ARCHAIC   CYPRIOTE    STYLE 
ABOUT   600-500    B.    C. 

In  this  group  the  influence  of  Oriental  conventions  graduall\' 
fades,  as  the  natural  forms  are  more  clearlv  apprehended,  and  more 
successful  attempts  are  made  to  render  them.  The  hair  and  beard 
break  up  into  man\'  small  curls,  at  first  in  rows  but  afterwards  set 
more  freely.  The  e\ebrows  become  wa\\-  and  upturned  at  the 
ends  (1279),  and  are  usuallx'  feathered;  exelids  are  shown  (1281); 
and  the  moustache  is  sometimes  allowed  to  grow  (1281),  though 
it  remains  close  cut,  and  is  feathered  like  the  e\ebrows.  The  plain 
frontlet  is  replaced  b\'  a  wreath  of  lea\es. 

1279-81.     Bearded  Heads  with  Wreaths  of  Leaves,  beneath 
which  one  or  more  rows  of  small  curls  frame  the  forehead. 


1281 


1284 


There  are  now  man>-  traces  of  red  colour  on  e\es,  lips,  and 
hair.  With  the  \igorous  head  1281  should  be  compared  the 
colossal  Herakles  1360  in  Centre-Case  C.  Hs.  i  ft.  2',  in. — i)l 
in.      Doell,   ix,    q,    344  (1281).     C\'prus,  p.   141   (i  280-1.) 

1,  Ixxxii,  540  (1281). 
1282-3.  Bearded  Heads  with  Cyprioie  Helmets  of  the 
usual    framed    and    quilted    type.      The    hair    is    more   freelv 


ARCHAIC    CYPRIOTE    STYLE 


rendered,  and  1283  has  red  colour  on  the  Hps.         Hs.    i   ft.  2-3- 
in.,  I  if  in.         Doell,  viii,  i,  231  (1282). 

I,  hx,  405;  xHx,  292. 

1284.  Bearded  Head  in  Modelled  Helmet,  consisting  of 
a  conical  cap  of  metal,  on  the  front  of  which  a  flying  bird  is 
represented  in  relief,  with  head  projecting  in  front,  and  wings 
enfolding  the  helmet:  like  the  flying  bird  on  an  early  bronze 
shield  from  the  Idaean  Cave  in  Crete,  probably  of  the  seventh 
century.  The  treatment  of  the  beard,  in  seven  transverse 
rows  of  small  curls,  is  rather  stiff  and  con- 
ventional, but  the  features  show  some  Hel- 
lenic \igour.  H.  I  ft.  5I  in.  Docll,  viii, 
I  I,   235.  1,  lix,  404. 

1285.  Bearded  Head  in  a  Greek  Helmet,  of 
the  smooth  close-fitting  "Corinthian"  fash- 
ion, of  the  later  sixth  century,  with  e\"e- 
brows  modelled  on  it  in  low  relief,  and  solid 
nose-guard  and  cheek-pieces.  But  the  cheek-  12^5 
pieces  are  here  shown  attached  by  hinges  so 

that  they  could  be  raised  like  those  of  the   Cypriote  helmets. 
There  is  red  colour  on  the  beard.         H.  12  in.  I,  cv,  688. 

MATURE  CYPRIOTE  STYLE 
ABOUT    500-450    B.    C. 

In  this  phase,  the  modelling  comes  very  close  to  that  of  contem- 
porary- sculpture  in  Cireece,  when  limestone  was  beginning  to  give 
place  to  marble.  The  treatment  of  the  hair  changes  rapidly; 
the  curls  become  large  and  irregular,  and  develop  into  twisted 
coils.  On  the  crown  of  the  head,  and  on  the  beard,  much  use  is 
made  of  fine  wavv  grooves,  with  occasional  zigzag  tooling.  At 
the  end  oi  the  period,  the  WTeaths  become  hea\y  and  elaborate, 
with  natural  lea\es,  berries,  and  flowers. 

1286-9.  Bi-ARD(-,D  Heads  with  \\'ri-,aths,  showing  the  varied 
treatment  of  hair  and  beard.  The  heard  of  12SH  is  unusually 
full  and  loose.       Hs.     13:!    in. —  lojj    in.  Doell,  ix,  13,   349 

(1288);  14,  3:^2('i28()).   Colonna-Ceccakii,  PI.  v.  (i28()),  C\-prus, 
p.   140;  Perrot,  fig.  404.  I.  Ixxxii,  541-2  (1287-8);  Ixxii,  469 

(12X9). 

1290.  Beakdei)  Head,  in  a  sl\K'  unusii;ill\'  close  lo  that  c)f  Athens 
at  the  opening  of  tlie  lifth  a'liturw      Ihe  hair  is  almost  wholly 

205 


Floor 
Case 
XIII 


Floor 
C^asc 
Mil 


rilH    COl.l.ECllON    t)F    SCULI'lURi;,    Sl'FCIAL    SERIES 

rendercel  b\'  fine  parallel  lines,  drawn  forward  from  the  crown, 
and  ending  on  the  forehead  in  a  single  row  of  small  curls, 
below  a  narrow  plain  hand.  F.\ebrows  and  moustache  are 
in   \er\    low  relief;  the  moustache  still   has  feather  tooling. 


1288 


1290 


The  e\es  and  lips  are  modelled  with  great  delicac\-,  and  the 
lips  are  coloured  red.  The  whole  work  marks  the  culmination 
of  the  Cxpriote  st\  le.         H.  lol  in.         Doell,  ix,  12,  355. 

I,  Ixxii,  4()<S. 
1291.      Beardhd   Head  with  Wreath,  of  the  beginning  of  the 

decadence.  Fhe  wreath  is  heav\'  and 
elaborate,  with  ba\'  lea\es  abo\e,  and 
i\y  lea\es  with  their  berries  below. 
The  hair  is  treated  in  small  locks  all 
over  the  head;  the  beard  is  curled, 
and  the  moustache  falls  o\er  it  in  tine 
wavy  lines.  I  here  is  much  red  col- 
our on  the  e\eballs  and  beard.  In 
spite  of  superior  technical  skill  the 
style  is  weak,  and  the  effect  hard  and 
impleasing.  H.  1  ft.  2I  in.  Doell.  ix, 
8,  34(1;  (^\prus,  p.  I  S3.  I,  Ixxxii,  s  3Q. 
The  series  of  bearded  heads  in  C\priote  sl\ie  is  resumed  at  1309 
in  Floor-Case  XV. 

Ri:i'RhSENTATl()\S  OI-    IHE  TRIPLE  GER'lGN 

To  the  sixth  centur\-.  and  probablx'  to  its  earl\-  part,  belong  three 
representations  of  the  three-bodied  monster  (jer\'on,  one  of  the 
adversaries  of  Herakles.  'Fhe\-  fall  into  the  same  class  of  voti\e 
offerings  as  the  lions  1  101-7  and  snakes  i  1  10-3,  which  exhibit 
the  power  of  their  sla\er,  and  the  fragmentarx'  group  i  lOcS  in  Wall- 
Case  38,  which  shows  Herakles  wrestling  with  the  Old  Alan  of  tlie 


1291 


204 


MAIL'RE    CYPRIOTE    STYLE 

Sea.  Ger\'on,  in  dreek  legend,  was  the  ihree-bodied  King  of  Floor 
Ervtheia,  an  island  in  the  Western  Ocean,  and  master  of  famous  y'^i^M 
red  cattle,  which  it  was  one  of  the  "Labours"  of  Herakles  to  carry 
off.  Herakles,  after  other  adventures,  reached  the  Ocean,  set 
up  his  famous  Pillars  on  its  shore,  sailed  to  h.r\  thcia  in  a  golden 
bowl,  drove  off  the  cattle,  and  killed  not  onl\-  their  giant  herdsman 
Eur\tion,  and  Orthras  his  two-headed  dog  (whose  fate  is  shown  on 
the  sculptured  slab  1368  in  Floor-Case  F),  but  also  Geryon  himself, 
when  he  came  in  pursuit. 

Oerx'on,  whose  name  in  Greek  means  the  "Howler,"  has  been 
e.xplained  as  a  storm-demon,  and  his  cattle  as  the  rain-clouds, 
red  in  the  western  sun-glow;  Herakles  being  concei\ed  as  the  Sun- 
God  who  arises  from  the  east  to  dispel  storm  and  rain,  in  spring- 
time. Other  m\ths  of  cattle-stealing  are  those  of  Cacus,  who 
steals  these  same  cattle  from  Herakles  in  the  neighbourhcjod  of 
Rome;  and  the  theft  of  .Apollo's  cows  by  the  infant  Hermes. 
\\'hate\er  its  origin,  a  m\th  located,  like  that  of  Ger\'on,  in  the 
I-ar  West,  ma\'  well  ha\e  won  new  popularit\'  in  the  centuries 
when  worshippers  of  the  Oriental  Herakles-.Melqart,  who  was  the 
patron  deit\'  of  Ixre,  were  exploiting  the  b'ar  West  of  the  ancient 
world,  and  discovering  the  "Pillars  of  Herakles"  in  the  ocean 
gatewa}'  of  Gibraltar.  The  traditional  dates  for  the  foundation 
of  Carthage  fell  in  the  middle  of  the  ninlh  centurx',  and  the  rich 
Ph(jenician  tombs  at  Iharros  in  Sardinia  begin  in  the  se\enth, 
with  jewelr\'  and  engraved  stones  of  'die  same  Mixed  Oriental  st\le 
as  these  figures. 

]2<)2.  St.xtlh  or  THH  Trii'le  GhinoN,  with  single  bod\',  three 
shields,  and  six  barefooted  legs,  of  which  three  are  in  advance. 
The  three  heads  and  two  of  the  right  arms  are  missing.  The 
damaged  head  i2C)2a  is  said  to  have  been  found  near  the 
triple  bodv:  it  wears  a  pointed  helmet  with  a  peculiar  double 
neckguard. 

The  third  arm  also  is  damageti,  but  was  cerlainlv  raised  to 
throw  a  spear.  There  are  traces  of  Inviv  v  locks  of  hair  on  the 
middle  pair  of  shoulders.  I  he  bddv  is  clothed  in  a  single 
tight-fitting  tunic,  whicli  ends  aiiov  (,■  1  he  knees,  and  is  decorated 
^,in  relief  with  two  combats  between  a  li(iii  and  a  hero  (probablv 
Herakles)  who  wears  a  similar  tunic.  1  he  three  shields  are 
held  in  a  row  before  the  breast,  overlapping  from  right  to 
left,  tl-,e  right-hand  shield  hvlnv,  nutermosl:  thev  are  Hat  and 
circular,  with  slightlv  raised  arm,  and  i-ach  bears  a  mv  thological 

20S 


Floor 
Xlll 


IHIL    COLl.Hc:ri()N    Ol-    SCULFTURH,    SPECIAL    SERIES 

scene  in  low  relief:  on  the  rif^hl,  Perseus  beheading  ihe  (jorgon 
Medusa,  in  presence  of  Athena;  in  the  centre,  Herakles  carry- 
ing a\va\-  one  of  the  Kerkopes  on  his  shoulder,  and  attacked 
by  another;  on  the  left,  Herakles  kneeling  and  shooting  at 
a    (Centaur.     Athena,    Perseus,    Herakles,   and   the    Kerkopes 


1292 

wear  crested  helmets,  and  plain  round  shields;  Athena  wears 
a  long  robe;  both  the  heroes,  and  the  Gorgon,  ha\e  short 
tunics  like  that  of  (k^-xon. 

The  figure  is  \igorousl\'  executed  in  the  Mixed  Oriental  st\  le; 
and  though  much  of  the  surface  is  much  damaged,  the  details 
of  the  small  reliefs  can  still  be  seen,  rudelv  but  vigoroush" 
rendered.  Red  paint  was  freelx'  used  for  the  background, 
and  also  on  the  figures,  it  is  noteworth\-  that  the  subjects 
of  these  reliefs  are  all  Greek,  selected  from  the  achievements 
of  Herakles  and   his  ancestor  Perseus;  and   that   the  crested 

206 


MATURE    CYPRIOTH    STYLE 

helmet  and  flat  round  shield  are  Greek  armour  of  the  seventh  Floor 
and  sixth  centuries.  The  figure  may  probably  be  dated  -J^,^^, 
about  600-550  B.  C.  H.  i  ft.  8|  in.  Doell,  vii,  8,  187. 

Cyprus,  p.   156;  Perrot,  fig.  388.  I,  Ixxxiii,  544. 

1293.  Statuette  of  the  Triple  Geryon,  of  smaller  and  rather 
maturer  work.  The  pose,  dress,  and  armour  are  the  same  as 
in  1292,  save  that  the  waist-belt  is  shown,  and  the  outer 
shields  both  overlap  the  middle  one.  On  the  right  shield  is  a 
Catharine-wheel  pattern,  and  on  the  left  a  central  boss  or 
rosette  surrounded  by  radial  lines.  The  feet  are  missing, 
but  the  three  right  hands,  raised  for  spear  throwing,  are  pre- 
served, and  also  the  middle  head,  which  wears  a  Greek  helmet 
of  early  "Corinthian"  type,  with  high  fore-and-aft  crest, 
fixed  cheek-pieces,  and  projecting  rim,  such  as  was  worn  by 
heavy-armed  infantry  in  the  time  of  Sennacherib  (705-682 
B.  C).  The  eyes  are  large,  the  nose  prominent,  and  the  beard 
wedge-shaped  and  rendered  with  straight  tooling.  There 
is  red  colour  on  the  belt.  H.  4I  in.  L.  6f  in.  Cyprus, 
p.  156  (below). 

1294.  Statuette  of  the  Triple  Geryon,  very  small  and  rudely 
cut,  in  the  same  pose  as  1292-3;  but  the  shields  arc  smaller 
and  do  not  overlap.  They  have  a  strong  rim,  and  designs 
in  obscure  relief;  on  the  right,  Herakles  attacks  a  seated  lion; 
on  the  left,  a  horse's  head,  facing  to  the  right.  Two  heads  are 
preserved,  in  helmets  with  the  same  raised  crest  and  rim  as  in 
1293;  and  two  raised  right  hands.  That  on  the  left  is  drilled 
partlx'  through,  as  if  to  hold  a  metal  spear.  Though  its  st\le  is 
rude,  this  figure  probably  belongs,  like  1292-3,  to  the  earl\'  sixth 
centur).         H.  2]  in.     L.  2I  in.         (Cyprus,  p.  156  (abo\e). 

FEMALE    HEADS    IN    THE    CYPRIOTE    STYLE 

Though  most  of  the  large  beardl<'ss  heads  of  earlv  st\les  in  the    ,-, 
^  ,  ^  -       -  Moor 

Cf)llection  certainl>'  represent  \oung  men,  two  \cr\'  fine  examples    Case 
of  the  (^\priote  sl\ie  (1295-6)  are  clearl\-  shown  b\'  their  hair  and    ^^^ 
jewelrv    to    be   intended    for    female   Notaries,   like  the  statuettes 
1080-4  in  \V'all-(>ase  -j,.      Ihex'  belong  to  the  same  picjuant  transi- 
tion  from   the   archaic  to  the  mature    phase  as  the  bearded    head 
1290  in  Moor-Case  .\  1 1 1. 

1295.  Head  of  a  If:mai.i-.  Voiaky,  rather  less  than  life-size. 
The  hair  is  drawn  forward  from  the  crown  of  the  head,  and 


THH    C.OI.LHCTION    OF    SCLLPTLRE,    SF'ECIAL    SERIES 

Floor  frames  the  forehead  with  three  rows  of  small  curls  under  a 

\i\'  broad    frontlet.     A    larger   lock    hangs   before   each    ear,    and 

larger  tresses  fall  behind.  The  features  are  delicatelx'  modelled; 
the  e\ehrows  are  in  low  relief  with  upturned  ends,  the  e\esare 
long  and  narrow,  and  the  mouth  small  and  rather  primlv 
set.  The  iewelr\'  is  elaborate,  and  instructi\e  for  comparison 
with  the  Collection  of  Ornaments  upstairs.  In  the  upper  lobe 
of  each  ear  are  fourfold  spiral  earrings  from  which  hang  a 
row  of  cubical  pendants;  in  the  lower  lobes,  spirals  and  long 
pendant  earrings;  also  within  each  ear,  a  double  o\al  spiral. 
Round  the  neck  is  a  multiple  necklace  of  fi\e  rows  of  square 
beads,  with  a  single  square  control-plate  in  front.  Below 
this  are  traces  of  other  necklaces,  partl\'  broken  awa\'. 
H.  ]()'l  in.      Doell,  i.\,  5,  308;     C^xprus,  p.   141.      1,  Ix.x.xii,  537. 

I20().  Hh.ad  of  a  I-~h.malh  X'otarv,  of  more  adxanced  st\le  than 
i2c)t.  The  hair  is  smooth  and  crowned  b\-  a  double  frontlet 
of  rosettes,  under  which  rows  (jf  spiral  curls  frame  the  face, 
and  hang  low  in  front  of  the  ear.  Behind  each  ear,  three 
plaits  of  hair  arc  clasped  together,  and  fall  in  front  of  the 
shoulder.  1  he  ears  ha\e  fourfold  spirals  in  the  upper  lobe, 
and  in  the  lower  a  large  rosette-disc  of  a  Greek  t\pe  which 
pre\ails  from  about  550  to  450  B.  C.  There  is  one  necklace 
of  small  beads  with  a  fan-shaped  pendant.  The  features  are 
modelled  in  a  shallower  and  harder  stxie  than  in  1295,  as  if 
the  sculptor  were  accustomed  to  work  in  marble,  which  was 
coming  into  use  in  Cireece  about  the  time  when  this  head  was 
carxed.  The  e\es  are  long  and  narrow,  the  e\ebrows  are 
onl\'  slightl}'  indicated,  and  in  the  upturned  corners  of  the 
mouth  is  a  faint  suggestion  of  the  "archaic  smile"  of  \otaries 
on  the  Athenian  .-\kropcjlis.  H.   12:]  in.  1,  Ixxxii,  538. 

BhARUl.hSS    MALI:    NX/IARIES    IN    THH    d' I'KIOTl-.     ';T^LF■. 

This  group  runs  parallel  with  the  bearded  heads  of  archaic  and 
mature  st\  le,  in  I'loor-Casc  Xlll;  with  the  decadent  bearded 
heads  1301-3  in  Floor-Gase  Xl\';  and  with  the  small  later  xolaries 
1177-87  in  \\'all-(^ases  38-40.  The  wreaths  begin  to  show  berries 
(1297-8,  1305),  rosettes  fnoi),  and  four-petalled  llowers  (i29()),  as 
well  as  lea\  es.  1304  has  a  frontlet  of  pendants  like  those  of  a  neck- 
lace, and  that  of  i  ^03  is  a  mere  ribbon  tied  in  a  bow.  The  use  of 
red  colour  is  now  more  frequent  and  less  judicious,  and  in  the  next 
group  its  misuse  becomes  conspicuous. 

208 


MATURE    CYPRIOIH    STYLE 

1297-9.      BtARDLhss  Hhadsof  Mali-.  \( ) ia k I i-,s,  in  the  same  gra-    Floor 

cious  sl\!e  as  1295-6.      The  hair  is  drawn  forward  from  the  ton    c^'J^*: 

A.  1  V 
of  the  head,  in  the  same  Greek  fashion  as  1290,  and  is  worn 

low   on  the  forehead  and  before  the  ears;  it  ends,  below  the 

wreath,  in  small  curls,  which  become  quite  free  and  irregular 

in   1299.      The  features  of  1297  ha\e  the  same  flat  treatment 

as   I29(),  but    1298  shows  considerable  delicac\-  and   achance 

towards  expression.     The  prominent  e\es  of  i2C)8  are  a  first 

sign  of  the  decadent  st\ie  which  sets  in  with  1312-13  in  I'loor- 

Case  XV.  Hs.  loij  in. — 9J  in. 

I,  lxxx\i,  570  (1299).    I,  !xxv,  4S4,  488  ( i2()7-8). 

1300-6.  Rhardless  Heads  of  Male  X'oiaries,  of  mature  and 
decadent  st\le,  and  less  careful  workmanship.  1  he  eyes 
begin  to  be  prominent,  and  the  nose  narrow  and  pointed. 
The  eyebrows  of  1300,  1302,  1306  are  still  in  relief,  and  the 
curls  on  the  forehead  retain  archaic  stitl'ness  in  1300,  1  304-(). 
But  in  1301-2  the  hair  is  simpler  and  more  natural.  The  style  of 
I  3o()  differs  in  detail  from  the  rest,  and  ma\'  be  archaistic  and 
later.         Hs.  lo^  in. — ()4  in.  Doell,   x,   7,   371    (1300);  x, 

I,  359  (1304).  I,  lxx\-,  483,  481 ;  Ixxxi,  533;  lxx\-,  480,  482, 

(1300-1-2-4-3). 

1307.  rjEAKDLESS  Head,  iM-RHAPS  Fe.male.  ITie  hair  is  dressed 
in  upstanding  masses  on  the  t'orehead,  with  transxerse  wav\' 
rolls  behind,  from  ear  to  ear.  It  appears  on  coins  of  Lapathos, 
earlv  in  the  fifth  centurx':  British  Museum  C~oin  (Catalogue 
((1\  prus),  PI.  \i,  3.  This  seems  to  be  in  imitation  of  an  earl\- 
(Ireek  fashion;  compare  1336-7  in  Ck'ntre-C^ase  B.      H.  61',;  in. 

1308.  Sta'ilette  or  a  \'()i;n(;  .Male  \'()^AR^■,  in  the  same  st\le 
as  i297-().  He  stands,  with  left  leg  slightl\'  in  ad\ance.  and 
the  right  hand  extended,  and  broken  awaw  In  his  left  he 
holds  a  tapering  object  like  a  straight  trumju-t.  The  treatment 
of  the  dress  is  obscure.  A  tunic  of  crinkled  material,  drawn 
rather  tight  1\-  about  the  lower  limbs,  falls  in  still'  solid  folds 
between  the  feet,  which  are  broken  a\\a\'.  Oxer  it,  an  oxer- 
fold,  or  juThaps  a  separate  oxer-tunic,  falls  from  the  neck  to 
the  thigh,  and  shows  a  double  border  in  red  colour  around 
the  neck  opening,  and  K'ss  clearh'  at  the  armholes.  It  seems 
to  be  the  same  oxer-tunic  as  on  i  ^s8,  rendered  h\'  a  sculptor 
who  was  more  familiar  with  the  Doric  chiton  of  (jrei\e.  1  he 
same  ambiguitx'  is  fell  in  thr  largi'r  si;itne  1  ]'■,(]  in  ( lent  re-(^ase 

209 


THH    f.OLLHcri  ION    OF    SCULPTURE,    SPHCIAL    SHRHIS 

Moor  B^  and  in  some  ot"  the  smaller  Notaries  of  this  period  in  W'all- 

.\1V  Cases  38-40.  H.  ^  It.  74  in.  Doell,  v,  12,  1  14;    Perrot,  fig. 

364.  1,  ciii,  677. 

DECADENT    CYPRIOTE    STYLE 
ABOUT  450-300  B.  C. 

The  C\priote  st\le  has  now  lost  its  vigour  and  independence,  and 
lloor  retains  onl\-  archaic  mannerisms.  The  best  heads  are  in  distant 
'■^,^.  imitation  of  well-known  Greek  masters  or  schools;  the  worst  are 
weak  repetitions  of  the  old  local  txpes.  The  heads  grouped  here 
seem  to  be  still  intended  for  votaries,  but  a  tasteless  \anity  as- 
cribed to  ordinar\-  persons  ideal  t\pes  of  feature,  and  the  attributes 
of  ()l\mpian  deities. 

130C).  Bharded  Head,  influenced  b\  the  Pheidian  presentation 
of  01\mpian  Zeus,  and  perhaps  as  earl\  as  the  close  of  the 
fifth  centur\.  The  hair  falls  beneath  a  wreath  of  lea\es,  in 
large  locks.  The  exebrows  and  e\elids  hang  hea\il\';  the  nose 
is  long  and  ver\'  narrow;  the  mouth  firm-set,  with  thin  mous- 
tache and  \aguelv  modelled  wa\\-  beard.     H.  12-2  in. 

1,  cv,  689. 

1 3  10.  Bearded  Head,  showing  the  same  influence  as  i30(),  but 
of  later  and  more  facile  execution.  There  is  much  red  colour 
on   beard,   hair,  and  exes.  H.  9}  in.  1,  xcxii,  6()S. 

131 1.  Bearded  Head,  from  a  tom"bstone  of  the  same  form  and 
st\le  as  1382-3  in  W'all-C^ase  ,2.  The  hair,  roughlx"  but  quite 
naturallx'  rendered,  springs  back  from  the  forehead  in  wa\\' 
locks  below  a  wreath  of  open  flowers.  The  beard  is  wrought 
in  long  wa\\'  lines.  The  features  are  stitY.  the  nose  flat  and 
square,  and  the  eyes  downcast;  probablx'  because  the  figure 
was  meant  to  be  seen  from  below.  The  background  was 
coloured  red. 

This  funerarv  sculpture  is  \ery  different  in  st\le  and  technique 
from  the  \()ti\e  figures,  and  cannot  be  exactlv  dated.  .Much 
must  be  allowed,  moreo\er,  for  the  possibilit\'  that  the  funerarx' 
and  votive  monuments  ma\'  not  come  from  the  same  localities. 
H.  Ill  in. 

1312-17.  Beardless  Headsof  .Male  X'otarihs, in  successixe  phases 
of  the  decadent  stxie.  1312  retains  the  high  crown  of  leaxes 
and  berries,  and  the  old  "feathered"  e\  ebroxxs,  but  has  the 
prominent  exes  and   nose,   low  forehead,   rounded   chin,   and 

210 


DHCAUHNT    CYPRIOH:    STYLE 

free  use  of  red  colour,  which  belong  lo  the  late  fifth  centur)'  Floor 
and  lo  the  fourth.  H.  iig  in.  Doell,  x,  2,  35H;  Cyprus,  y^^^ 
p.  i_|  1.  I,  Ixxv,  485  (1312). 

1313  recalls  the  \oung  male  figures  of  the  Feloponnesian 
schools  in  the  late  fifth  centur\-.  The  hair  is  almost  straight, 
and  oxerhangs  the  face  and  ears;  the  e\es  are  deep-set  and 
slighth'  turned  down,  with  conspicuous  e}elids;  the  mouth 
firmly  closed,  with  thin  lips  and  rather  sexere  expression. 
H.  i)\  in.  1,  Ixxv,  4(S6. 

1314-1 T  attempt  the  manner  of  the  school  of  Pol\kleitos;  with 
natural  wa\\-  hair,  less  copious  than  in  1313,  e\cs  wide  apart 
with  well-marked  lids,  short  broad  nose,  full  lips,  and  at  least 
some  modelling  of  the  neck.  .All  prexious  necks  ha\e  been 
cxlindrical.  Hs.   94    in.,  11;^    in.  1,  ex,  084  (1315). 

1316,  though  damaged  and  weathered,  seems  to  folloxx'  the 
school  of  Skopas,  espcciallx'  in  the  fullness  of  the  under  part 
of  the  face,  and  in  the  pose  of  the  head.  H.  12  in.  1,  cxxxix, 
1035. 

1317  likexxise  follows  a  fourth  centurx'  model,  but  the  face  is 
loo  sc|uare,  as  if  the  artist  had  miscalculated  its  proportions. 
11.  8.1  in. 

1318        C^OLOSS.XL      Hb.XD,      PhRHAl'S      INII.NDhD      FOR     .aLHX.XNDI.R. 

it  follows  unskilfullx-  the  traditional  portraits,  \xith  character- 
istic inclination  to  the  left,  but  is  chietlx  influenced  by  the 
popular  c<jin  txpcs,  xxhich  are  as  common  in  (^xprus  as  on  the 
mainland.  The  hair  floxxs  luxuriantlx  beneath  a  full  x\reath 
of  leaxcs;  the  large  full  eyes  are  set  close  beneath  the  broxxs; 
the  nose  is  slightlx'  out-turned  from  the  line  of  the  foreheaii. 
I'he  mouth  and  chin  are  damaged.  11.  12.I  in. 

1319-21.  lliAi)'-  or  X'oiARihs  xxriii  .\ii  ribi'i  hs  of  Apofi.o. 
These  follow  Hellenistic  txpcs,  with  long  hair  clinging  heaxily 
rounti  an  ox:il  elTeminate  face,  with  iteep-sel  exes,  and  slightlx' 
(H'nsixc  expression.  The  rendering  of  the  hair  is  more  con- 
X(.'ntion;d  and  spiral  in  1319.  le^s  so  in  1  ',21,  xxhich  is  nearer 
lo  ils  model  in   expression  and  posi'.  lis.   ii.lin.—  io^    in. 

l)(jell,    X,   (),    345    (1319).      ( ]o!onna-(  ^cCLjldi,     PI    x.    (i3i<)). 

!,  xcx  ii,  ()()i ,  ()5(),  ()()^. 

\  >,22.  Ti.xiAi.i  lii.xu,  of  nuitronb.  I  \  pe,  mlku'iiced  bx  lourlh 
cenUirx  niodfls  Ox  rr  the  lie. id  is  ;i  hrjxx  xcil,  tiraxxn  for- 
ward on  the  left  side  somrxxliat.  as  in  ihe  life-si/e  statue  1404 
2  I  I 


I'loor 

Case 

W 


rm-   cx)Li.i;(;i  ION  oi    scllpi  lri:,  sflcial  serihs 

in  W'all-Clasc  ()4.  The  hair  is  partcei  under  a  narrow  frontlet 
into  \\a\  \  masses  abo\e  the  ears.  The  forehead  is  smooth, 
the  nose  ciuite  straight,  the  e\  es  prominent,  and  chin  small 
and  slighll\"  dimpled,  in  the  ear  is  a  rosette  earring  with 
pendant  figure  of  liros,  like  ^()07-S  in  the  C^oUcction  of  Orna- 
ments. H.  1  I  i  in.  1,  c\-,  ()H2. 


HHLLhMSllC.     STYl.H.     PORTR.MIS     .WD 
CONVHNl  lON.AL    TYPES 
.\FTER  PO   B.   C. 

Moor    .Ml  traee  of  (".\priole  sl\le  has  now  disappeared;  onh'  the  weak 
vv?    proxincial   handling   remains.      Ideal   t\pes  are  often   replaced  hv 
the  new  art  of  portraiture,  of  which  the  first  example  in  this  Col- 
lection is  the  traditional  .Alexander  13  iS  in  I'loor-C^ase  X\'. 

1323-5.     Eldi-.kl'i'    .Mhn,    clean-sha\en,    with    short    wa\\'    hair, 
rather  full   face,  and    firm  jaw.      132^   is  \'ounger  and  softer 


I  ',2^ 


I  ^20 


featured   than   the  others;  all   are   fair   represenlati\  es  of  the 
prosperous  business  men  of  the  first  centurx    B.  (].  11.  11!, 

in.— loi  in.  1,  cxxxix,  10^4  (132^;  xc\  li,  664  (n24). 

I  ]2().  Vol  N<.  .M.AN.  with  sh(;rt  \\a\\'  hair,  inlluenced  b\-  the  t\pe 
of  the  xounger  jiortraits  of  Augustus;  probabh  of  the  tir>t 
centur\'  .\.  O.  H.  1  2  in. 

1327.      Eldbrl^'   .M.\n,  with   thin  careworn   face,  and   thin   beard; 

212 


iii:i.i.i:nisii(:  styli: 


vigorous      porlrailLiro      nol      \\holl\'      free      I'rom     canValurL-. 
H.  II  in.  Docll,  x,  i().  S4(';     (ixiMiis,  p.  Is^        I,  c\',  ()(J)o. 

1  52<S.  Fhmalh  Head,  with  hair  parted  under  a  triple  band,  tied 
on  the  forehead.  .Aboxe  the  ears,  it  is  drawn  back  into  a 
prominent  knot  from  which  k_)ng  ends  fall  behind  the  neck. 
I  he  narrow  pointed  nose,  small  mouth  and  chin  recall  the 
[tortrait  statues  and  cla\-  figurines  of  the  third  and  second 
centuries  B.  C.  H.   i  i  in.  1,  cv,  681. 

I  ]2q.  FhMALL  Head,  following  late  t\pes  of  Aphrodite,  but  per- 
haps intended  as  a  portrait,  for  the  lower  part  of  the  face  is 
rather  full,  and  the  lips  are  slightl\-  parted.  There  is  red 
paint  on  hair  and  e\es.  H.  q^   in.  I,  cv,  683. 

1  ]]().  FhMALh  Head,  with  hea\'\-  \eil,  loose  wa\\'  hair,  and  large 
circular  earrings;  in  a  coarse  flat  st\le  like  1404  in  Wall-Case 
()4.  H.  10  in.  Doell,  x,  5,  544.     (^\prus,  p.  141. 

1,  xc\ii,  660. 

M31-4.  YoLNG  .Mi:N,  roughh'  imitated  from  the  portrait  st\ies 
of  the  first  and  second  centuries  .\.  1^.  The}'  seem  to  ha\e 
been  exposed  to  fire.  Hs.  1  1^  in. — 9  in. 

I,cxl\-,  I  148  (1331). 

M3t-  Femai.e,  Hi-ad,  in  the  same  late  portrait  sl\le  as  1331-4, 
with  hair  in  broad  bands  from  frtjnt  to  back,  ending  in  a 
circular  mass  behind.  This  also  seems  to  ha\'e  been  exposed 
to  fire.  H.  C):,'  in. 

lor  \otaries  who  could  not  alTord  portrait  statues,  or  replicas  of 
a  masterpiece,  the  local  statuaries  around  each  sanct uar\' went  on 
reproducing  the  traditional  t\pes,  which  \ar\'  as  little  in  feature 
or  expression  as  the\'  do  in  their  poses  or  attributes  The  wreath 
of  lea\es  f  I  ^8,  i  34  i )  or  of  lea\es  and  berries  f  i  3^7)  is  often  omitted; 
the  hair  is  c|uite  short,  and  short  side  whiskers  are  sometimes  worn 
0341).      Red  [xiint  seems  onl\-  to  be  found  on  the  earlier  figures 

M^()-4o.  P)iAKi)Li>s  Hr.ADs  or  .Maee.  X'oiarii.s,  of  earlier  but 
quite  con\entional  st\!e,  with  wreaths  and  red  jxiint;  the 
mouth  of  1338  e\(.'n  shows  traces  of  archaism:  probabl}'  not 
later  than  the  third  centurx.  lis.  7!  in.      4  in. 

I,  cxi,  7S1,  -'-,2.  730  (1336-7-8). 

1341-47.  I'eakdeess  111  AD'-  or  Maee  X'oiakie.s  of  later  t\pe, 
inlluenced   b\    portrait    sculpture;  !',4i,  for  example,  has  s'ulv 

21  5 


Moor 
Case 
X\  I 


lloor 
Case 
X\II 


IHH    ('.{M.l.HC'.TlON    0\'    SCl'LinURl-;,    SIM-CIAI.    Sl-RUiS 

Moor  whiskers  and   i  ^4()-7  sharper  toaturos  than  the  rest.        Hs    \2\ 

■y^YII  in. —  8',  in.  Doell,  x,  is,  4i()  ( i  H^')  J  '''^'  4'7  (•347)- 

1,  cxxxix,    1040-2    (_i  342-5-());  cxl,    1043. 

1348.  Ill- AD  OF  A  Clmi.n,  with  short  \\a\\  hair  and  late  Hellenic 
features,  of  the  same  \ypc  as  a  marble  head  from  the  lemple 
of  Paphos  which  is  ascribed  to  the  fourth  or  third  centurv. 
E.  A.  Ckirdner,  journal  of  Hellenic  Studies,  IX,  PI.  x. 
H.  siin. 

134c).  VoLNo  Mali-.  X'oiarv,  about  half  life-size,  standing,  bare- 
footed, in  ample  tunic  and  hea\\'  cloak  of  Graeco-Roman 
fashion.  He  olfers  an  apple  in  his  left  hand;  his  right  rests 
in  a  fold  of  the  cloak.  The  head  is  of  the  same  conventional 
t\pe  as  1341-7  and  the  whole  figure  illustrates  well  the  class 
to  which  it  belongs.  H.   3  ft.  4I  in.  i,   cxxxv,  998. 

1350.  \'()L  NO  Okii-.n  lAL  X'oTAR'i',  in  the  same  Phrygian  or  Persian 
cap,  loose  trousers,  and  long-slee\ed  tunic  as  1231  in  W'all- 
C2ase  48.  The  left  hand  seems  to  have  been  extended  in  front, 
but  is  broken;  the  right  hangs  loosel\'  b\'  the  side.  The  right 
knee  is  thrown  forward,  as  if  the  figure  were  running  or  danc- 
ing, but  both  I'eet  are  broken  below.  The  head  is  separate, 
but  certainlx'  belongs  to  the  bod\'.  The  limestone  of  which 
this  hgure  is  made  is  of  browner  tint  and  different  texture 
from  the  material  of  most  of  the  statues  in  the  C>olleaion. 
H.  2  ft.  7  in.  1,  cii,  675. 

LIFI-SIZH    FIGL'RHS,  SARCOPHAGI 

AND  ri-;l!i;fs 

CENTRt£    CASliS    A-G,    AND    ANNHX 

In  the    (AMitre-C^ases    are    the    principal  works    of    art    of    large 
Centre    size  or  special    interest    in    the    Collection.     C^'ntre-Cases    A,    B, 
C    contain    statues    of    life  size    or  nearh'  so,   selected   from  the 


A 


large  series  in  the  Students'  Collection  downstairs.  Centre-Cases 
D,  E,  in  the  .Annex,  contain  sculptured  sarcophagi  from  Colgoi 
and  .Amathus;  (^ase  V  contains  other  examples  of  relief  scul[iture; 
and  (Lase  C,  architectural  fragments  and  other  miscellaneous  ob- 
jects. On  the  open  lloor  of  the  .Annex  are  two  anthropoid  sarco- 
phagi of  marble. 

1351.     PKn-:si  wnii  a  Dovr:,  in  .Archaic  (^\priote  st\!e,  considerably 
more  than  life-size.     This  fine  statue  represents  a  bearded  man 

214 


LIFH-SIZE    FIGURES 


in  Cypriote  helmet,  long  tunic,  and  cloak,  standing  with  left  Centre 
foot  slightly  in  advance,  and  both  arms  extended  from  the  ^'■^^^ 
shoulder.  The  prominent  contours  of  the  breast,  and  the 
long  locks  of  hair  on  the  shoulders  caused  earlier  critics  to 
suppose  that  the  figure  was  intended  to  be  female;  and  it 
has  been  described  more  than  once  as  a  figure  of  that  "  bearded 
Aphrodite"  who  is  believed  (from 
ancient  testimony)  to  have  been 
worshipped  in  Cyprus.  But  both 
peculiarities  are  characteristic  of 
Cypriote  sculpture,  the  feminine 
bust,  for  example,  in  1061,  1065, 
1071,  1359  of  this  Collection,  and 
the  long  hair  in  1060- 1-2,  1065, 
and  the  colossal  Herakles  1360. 
Moreover,  the  dress  and  orna- 
ments of  female  figures  are  differ- 
ent from  these,  and  easily  recog- 
nizable, as  in  1080-4  iri  Wall-Case 

35- 

The  helmet  is  of  the  framed  and 
pointed  kind,  and  of  unusuall}' 
elaborate  design.  The  frame  is 
coloured  red,  and  the  griffin's 
head  on  the  summit  is  coloured 
\'e!low,  to  represent  gold.  On 
the  front  plates  are  sacred-tree 
ornaments  in  relief,  and  in  the 
panels  are  traces  of  black,  red,  and 
xellow,  probablv  to  indicate  em- 
broidered leather;  on  the  back  of 
the  helmet,  too,  there  is  much 
red  c(jlour,  and  also  on  the  lips 
of  the  figure,  and  on  the  borders 
of  tunic  and  cloak.  The  features 
are  in  Archaic  C~\priote  st\le,  like 

the  bearded  and  helmeled  heads  12S2-3  in  Moor-Case  XI 11, 
which  have  the  sann'  promini,'nt  nose  and  priml\'  cut  e\es 
and  lips.  Conventional  slilfm-ss  is  already  relaxed  under 
Hellenic  influence,  but  the  delicate  freedom  of  the  earlv 
litth    centurx    is    not     \el    come.      The    hair    and    beard    are 


IHl-:    COl.I.lU.l  ION    Ol      SCA'I.PTLIRH 

Ceniri'  rciuicred    bv    rows    of   small    eurls;    and     in     front     of    each 

^''^^'  shouiiier    throe    long   \\a\  \    locks   of   hair    fall    nearh'   to  the 

breasts.  The  dress  consists  of  a  lonfj;  tunic  with  sleeves, 
and  a  heavil\-  folded  mantle.  The  painted  ornament  of  the 
neck  border  —  crosses  with  dots  between  the  arms  —  is 
common  in  earl\'  Clreek  representations  of  textiles,  and  in 
dec()rati\e  designs  borrowed  from  these.  Ihe  lower  hem 
of  the  tunic  has  a  border  of  car\ed  lotos  tlowers  and  buds, 
from  which  falls  a  deep  fringe  The  mantle,  which  has 
a  double  border  enriched  with  red  colour,  is  rendered  in  far 
greater  detail  than  on  an\-  other  figure  in  the  Collection.  It 
is  worn  like  a  Doric  chiton,  pinned  together  on  the  right 
shoulder,  with  a  deep  overfold;  but  from  the  left  shoulder  il 
has  been  unpinned  so  that  it  falls  in  stiff  conxentional  folds 
across  the  bod\',  exposing  the  undcr-garment,  and  is  caught 
up  over  each  forearm. 

On  the  left  shoulder  an  inscription  in  Cvpriote  characters  was 
formerix'  read:  "Of  the  Paphian  Goddess."  But  the  traces 
of  it  are  ver\'  obscure;  see  Appendix.  About  500  B.  il.  11. 
7  ft.  ih  in.  Doell,  i,  12,  1;  Colonna-Ceccaldi,  PI.  ii,  iii,  i; 
C\prus,  p.  132;     Perrot,  fig.  34().  !,  lx\-,43i. 

The  head  is  separate,  but  certainl\'  belongs  to  the  bod\',  and  was 
seen  with  it  in  Cyprus  in  1870  b\'  (k)lonna-Ceccaldi  (Moiiumeiiis 
antiques  de  Cypre,  pp.  33,  39-40)  two  months  after  it  was  found. 
The  junction  is  well  preserxed,  and  no  further  damage  has  been 
done  in  refitting.  Both  arms  were  car\ed  originallx'  in  separate 
pieces  of  stone,  a  common  C\  priote  and  Creek  usage.  The  original 
arms  have  been  broken  off,  and  the  broken  surfaces  ha\e  been 
seriouslx'  defaced  in  refitting.  It  is,  therefore,  impossible  to  be 
certain  that  the  present  arms  are  the  original  ones:  probably  the\' 
are  not;  the\'  are,  howewr,  genuine  (>\  priote  work,  of  about  the 
same  period  as  the  bodw  The  cup  in  the  right  hand  has  no  parallel 
in  this  (>)llection,  though  the  hands,  1 156-7,  holding  libation  bowls, 
are  probabh'  of  about  the  same  date.  It  has  a  high  foot,  and 
one  small  \ertical  handle;  a  form  which  does  not  occur  among  the 
cla\'  \essels  of  C\  prus,  but  is  akin  to  the  earl\'  k\  likes  with  two  such 
handles.  The  cup  is  held  b\-  the  stem  and  loot,  with  a  gesture  of 
libation.  The  do\e  on  the  left  hand  has  been  broken  awa\-,  but 
the  claws  of  the  original  bird  are  clearl\-  seen  between  the  fingers 
of  the  hand,  and  there  is  a  scjuare  socket  cut  on  the  Priest's  bod\', 
at  the  left  elbow,  which  was  designed  to  recei\e  a  hold-fast  attached 

216 


LIFE-SIZE    FIGURES 


lo  some  such  object.     The  present  dove  is  ancient,  but  has  been    Centre 
repeatedl\'   repaired,   and  much  disfigured   b}-  scraping;  its  head    *^'^^^ 
and  bodv  are  genuine  Cxpriote  work,  of  about  the  same  period 
as  the  Priest's  body;  but  it  is  impossible  to  be  certain  that  it  is 
what  he  originally  held.      For  similar  votive  doves.,  compare  i(:()<S-q, 
1072-3,  1076,  and  especially   1075  in 
Wall-Case  36,  which  holds  the  dove 
in  the  same  position  as  here:  com- 
pare   also    the    hands  holding  birds 
1163-4  in  Wall-Case  41.      The  feet, 
and  the  base  on  which  they  stand, 
are  modern,  as  far  as  the  under  side 
of  the  tunic:  they  were  cut  from  a 
block  of  Cypriote  limestone,  and  tit- 
ted  after  the  statue  arrived  in  New 
York.     .At  the  same  time,  the  statue 
was  covered,  like  other  large  sculp- 
tures, with  a  thin  wash  of  powdered 
(Cxpriote  limestone,  which  concealed 
the   fractures   and    also   the  ancient 
colouring.     This   wash    was    wholl\- 
removed  in    1909,  together  with  the 
plaster  filling  of  the  junctions. 
I  352.     Bearded  \'oTARY,  in  Oriental 
st\ie,  rather  more  than  life-size 
He  stands  with  both  arms  press- 
ed   to  his  sides,    and    left    foot 
verv  slightly  in   advance.     The 
feet,  which  are  bare,  stand  on  a 
square  base.      The  head  is  sepa- 
rate, and  does  not  belong  to  the 
body  for  certain,   but   is  of  the 
same  period  and  st_\le:  compare 
the  large  heads  1258-60  in  Moor- 
(^ase  XI,  and  the  votaries  in  the 
same  dress  1001-3,  ""'   \\all-(>ase  29. 
pointt'tl  helmet    and   .Assyrian    dress. 

arr  rendereti  hv  sliif  rows  of  small  curls,  and  the  beard  has 
a  narrow  border  towards  the  cheek.  1  he  evebrows  are  not 
represented  at  all,  and  the  moustache  only  by  very  faint 
traces  at  the  corners  of  the  mouth.      The  close-fitting  tunic 


1332 

le  wears  framed  sofl- 
Ihe    hair    and    beard 


217 


rm-:  coLLiicrioN  of  sculpture 

Centre  falls  to  the  ankles,  and  has  slee\es  to  the  elbow,  and  double 

^'-'si'  borders.     Over  it   the  cloak  falls  in  stiff  folds  from  the  left 

A  .  .  .  . 

shoulder;     its    border    is    double,    and    has    a    zigzag    fringe. 

About  yoo-Oi^o  B.  C.         H.  6  ft.  3.^  in.         Doell,  i,    13,   29; 

Colonna-Ceccaldi,  PI.  iv,  2;     Cyprus,  p.  143;     Perrot,  fig.  350. 

I,  407. 

1353.  BeardiiD  N'otary,  in  Oriental  st\ie,  life-size.  He  stands 
with  bare  feet  close  together  on  a  square  base,  wearing  a 
framed  and  pointed  helmet,  and  .\ss\rian  tunic  and  cloak. 
His  left  hand  falls  by  his  side,  and  the  right  is  slung  in  a  fold 
of  the  cloak.  The  beard  and  hair  are  rendered  in  parallel 
or  radial  locks;  the  beard  has  a  wavy  border  towards  the  cheek 
and  there  is  no  moustache.  The  only  details  of  the  dress 
which  are  shown  are  the  edges  of  the  left  sleeve  of  the  tunic, 
and  the  sling-fold  of  the  cloak,  and  its  raised  border  which 
falls  from  the  left  shoulder  to  the  right  side.  .About  700-650 
B.  C.  H.  5  ft.  5f  in.  Doell,  i,  11,  2;  C}prus,  p.  131; 
Perrot,  fig.  353.  1,  xliv,  281. 

1354.  Beardless  .Male  Votary  in  Oriental  style,  life-size.  He 
stands  on  a  square  base  in  the  same  pose  as  1353,  and  wears 
Assyrian  dress,  and  a  pointed  helmet  without  frame,  which 
quite  conceals  the  hair  in  front;  behind  the  neck,  the  hair 
falls  in  a  hea\\'  mass.  The  features  are  still  thoroughl}' 
Oriental,  in  the  mixed  st\ie  of  1274-7  in  bdoor-Case  XI 1. 
The  tunic  is  not  modelled  at  all,  and  the  cloak  onl}'  in  outline, 
where  it  supports  the  right  arm.  About  650-600  B.  C. 
H.  5  ft.  3I  in.  I,  xlvi,  283. 

Centre    '353-      Bi:arded  \'()TAR">',  in  Archaic  Cypriote  st\le,  life-size.       He 
c:ase  stands  in  long  tunic  and  cloak,  on  a  square  base,  with  san- 

dalled feet  which,  though  detached,  seem  to  belong  to  the 
bod\'.  The  head  is  in  a  shallow  hea\'v  st\le  like  1288  in  Floor- 
Case  XIII.  The  hair  is  drawn  forward,  beneath  a  wreath 
of  leaves  and  rosettes,  into  three  rows  of  small  curls  which 
are  continued  all  round  the  head.  The  beard  is  in  seven  rows 
of  small  curls,  o\er  which  the  moustache  falls  stiffly  beyond 
the  large  rigid  mouth.  Tdie  long  tunic  has  sleeves  to  the 
elbow,  ami  the  cloak,  which  falls  from  the  left  shoulder  in 
a  few  stiff  folds,  is  supported  b\-  the  left  arm,  which  is  slightlv 
ad\anced  and  holds  an  incense-box  like  i  168  in  \\'all-(>ase 
34.      The  right  arm  is  cut  clear  of  body,  and  holds  a  spray 

218 


15 


LIFH-SIZH    FIGURHS 


of  leaves  like  1062;  it  is  separate,  hut  in  the  same  st\le  as  the    Centre 
figure.     On  the  outer  side  of  the  right  leg,  however,  are  two    Case 
scars,  as  if  something  had  been  in  contact  with  it;  and  if  this 
object    was    held    in    the    right 
hand,    the   present    right    hand 
ma\-  have  been  assigned  to  it  in 
error.         About  550-500  B.  C. 
H.  6  ft.  I i  in.  1,  Ixii,  428. 

1356.  Beardlhss  Male  \'otary 
in  Archaic  Cypriote  st}le,  but 
Egyptian  costume;  life-size. 
The  features  show  the  Mixed 
Oriental  type  transformed  under 
Hellenic  influence.  The  hair 
stands  up  stiffly  on  the  forehead, 
and  is  dressed  in  transverse 
rolls  over  the  head  as  in  1307, 
falling  also  in  three  large  tresses 
behind  each  shoulder,  as  in  the 
archaic  "Apollo"  statues  of  the 
Greek  islands.  Both  hands  hang 
loosel\'  by  the  sides,  and  are 
slightly  cut  away  from  the  body 
at  the  elbows.  The  skin-tight 
tunic  has  short  slee\es,  and 
there  is  a  spiral  bracelet  on 
each  upper  arm.  The  belt  is 
decorated  with  three  rows  of 
rectangular  scale-pattern,  with- 
in a  raised  border.  Bl'Iow  it 
hangs  the  kilt,  with  lateral  folds 
and  overfolds  carefull\-  shown, 
and  a    central    panel    decorated 

like  the  belt  with  scale  pallerii,  within  a  border  which  eiuls 
in  oulward-lurnetl  uraeus-snakes,  erowned  with  solar  di>cs. 
The  legs  are  broken  awa\'  close  below  the  kilt.  There  are 
traces  of  red  colour  on  the  lips,  bi'lt,  and  kill.  This  ligure 
should  be  compared  with  the  lil'e-si/e  statues  1357  and  i-s()i, 
and  with  the  heads  of  the  same  period,  i2()<)-7(),  in  Moor- 
(^aseXll.  .About  ()oo-s so  B.  C;.  1 1.  3  ft.  3:,' in.  Ooell,  iii,  i(),()2; 
(^>prus,  p.  145  (right);     Perrot,  fig.  355.  I,  ix,  11. 

2  i() 


THH    COI.l.l-X/nON    Ol-    SC.L'l.PTURH 


Centre 

Case 

B 


13^7.  BtARDLHss  Malh  N'oTAKf,  ill  ArLhaiL  (^xpriotc  st\lc,  life- 
size.  The  hair  is  dressed  as  in  1356,  except  that  the  erect  hair 
on  the  forehead  is  replaced  b\-  small  curls,  and  the  hair  behind 
the  head  has  rough  tooling  instead  of  distinct  tresses.  The 
cars  are  \er\'  large  and  are  set  high,  as  often  happens  in  this 
stage.     The  e\  es  are  large  and  prominent ;  the  e\ehro\vs  arched 


I3i 


in  low  relief;  the  chin  sharpl\'  pointed.  The  skin-tight  short- 
slee\ed  tunic  is  continued  downwards  without  belt  or  kilt 
to  the  thighs,  and  over  it  is  a  short  cloak  falling  as  usual  from 
the  left  shoulder  in  four  stiff  folds  with  zigzag  edges;  hut 
these  onh'  descend  to  the  middle  of  the  thighs.  The  legs 
are  broken  awa\'  abo\-e  the  knee.  Both  hands  hang  loosel\- 
b\'  the  sides,  and  arc  nearl\'  cut  awa\'  from  the  bodw  In 
the  right  hand  is  a  double  spray  of  lea\es:  compare  the  small 
figures  1062,  1064  in  Wall-Ceases  33-34.  .About  350  B.  (]. 
H.  3  ft.  I  if  in.  Doell,  iii,  8,  61;  (]\'prus,  p.  145  (left); 
Perrot,  fig.  195.  I,  viii.  10. 

X     YoLNG  .Male  \'oTARV,  in  .Mature  Cypriote  st\ie,  half  life- 


LIFE-SIZE    FIGURES 

size.  He  stands  with  left  leg  slightly  in  advance,  but  has  Centre 
both  legs  broken  away  at  the  knee.  The  head  is  separate  ^'^^^ 
and  does  not  belong  to  the  body  for  certain.  The  hair  is 
drawn  forward  beneath  a  frontlet  of  rosettes,  in  many  twisted 
locks,  set  alternately  to  left  and  right;  a  rare  experiment  in 
orderly  variety.  The  eyes  are  prominent  and  nearly  flat, 
and  the  orbit  is  formed  by  a  broad  shallow  groove,  as  in  the 
archaic  sculpture  of  Athens;  but  both  lids  and  brows  are  shown 
in  relief,  the  nostrils  are  deeply  pierced,  the  mouth  tight  shut, 
and  the  chin  rather  pointed,  with  a  slight  dimple.  The  whole 
head  stands  in  much  closer  relation  to  normal  Greek  work 
than  most  of  the  Cypriote  sculpture. 

Both  arms  are  cut  away  a  little  from  the  sides,  and  hang 
looseh'  with  the  hands  (which  are  broken)  slightly  in  advance. 
Under  the  left  hand  hung  a  dagger,  from  the  sheath  of  which 
hangs  a  small  oil-bottle. 

The  costume  of  the  body  is  unusual.  It  consists  of  an  under- 
tunic  which  falls  in  full  folds  to  the  knee,  but  is  drawn  back 
between  the  thighs  far  enough  to  indicate  the  sex  of  the  wearer. 
0\er  this  tunic,  which  is  confined  by  a  cord  round  the  waist, 
knotted  a  little  to  the  left  side,  is  a  foldless  over-tunic  with 
sleeves,  which  falls  low  on  cither  side  about  the  thighs,  but  is  cut 
away  in  front  and  behind,  high  enough  to  show  the  waist  cord 
beneath.  Other  representations  of  this  garment  are  1029-31, 
1052,  1096,  1 120,  1308.  Over  this,  again,  hangs  a  rectangular 
\estment  folded  like  a  napkin,  and  rough-tooled  as  if  to  repre- 
sent the  shagg}'  material  which  was  used  for  towels  then  as 
now.  It  falls  from  the  left  shoulder  to  the  waist,  and  is 
tucked  into  the  belt  of  the  under-tunic,  both  in  front  and 
behind.  The  precision  with  which  this  peculiar  costume  is 
represented,  particular!}' when  the  figure's  back  is  left  otherwise 
so  rough  as  it  is,  suggests  that  it  had  some  ceremonial  meaning. 
(Compare  the  smaller  figure  1H45  in  the  Collection  of  Inscrip- 
tions. I-or  another  example  and  for  a  different  interpreta- 
tion of  it,  see  de  Kidder,  Catalogue  de  Clercq  {Antiquitcs 
('bvprioies)   v,  PI.  1.     About  500-450  B.  C.  H.  3  ft.  jl  in. 

Doi'll,  iv,  10,  113.  1,  Ixxiii,  475. 

155().      YoiNc,   .\1ai.f-:  X'oiary,   in   .Mature    Cx-jiriote  st\le,  about 
half  life-size,  stands  with  the  left  leg  slightl\'  in  advance;  both 
U'gs,  howe\er,  are  broken  awav  about  the  knee.     The  head  is 
separate  but  seems  to  belong  io  the  body.     The  hair  is  drawn 
221 


c 


im;  coLLi-ci  ION  of  sculpture 

Centre  forward  iiiulcr  a  wreath  of  loaws  and  rosettes,  to  form  a  double 

'  j^  row  of  curls  o\er  the   forehead  and   behind   the  ears.     The 

e\es  are  prominent  but  nearl\'  Hat,  and  the  upturned  corners 
of  the  mouth  begin  to  show  some  expression.  The  chin  is 
full  and  square.  1  he  long  close-fitting  tunic  is  of  crinkled 
material,  like  i  iSi-3-s-('.  I  he  breasts  are  rather  prominent, 
but  the  true  sex  of  the  \otar\  is  indicated  beneath  the  tight 
tunic.  The  cloak  hangs  as  usual  from  the  left  shoulder,  and 
is  supported  also  b\  the  left  arm.  The  hands  are  advanced 
from  the  elbow,  but  both  are  broken  awa}'.  About  500-450 
B.  C.  H.  3  ft.  5i  in.         Doell,  i\-,  8,  97.  1,  Ixix,  454. 

Centre    '  3^^'*-     C^oLOSSAL  Sta TL  H  oi-    HhRAKLhs,   in   the   Mixed  Oriental 
Case  st\le.      He   stands   with   left    foot   a   little   in   advance.     The 

legs  are  broken  at  the  knee,  but  are  preserved  to  the  ankle; 
the  feet,  however,  are  modern,  and  were  made  in  New  York 
from  a  block  of  C\priote  limestone;  the  lower  part  of  the  legs 
has  been  slightlv  damaged  in  refitting.  The  hero  wears  the 
usual  tight-fitting  tunic  with  short  sleeves,  girt  with  a  belt 
with  raised  borders,  from  which  hangs  a  kilt  or  loin-cloth 
with  a  ball-fringe,  like  that  on  1 363.  There  is  no  centre  panel, 
and  the  right-hand  side-folds  are  drawn  across  the  left  a  little 
be\()nd  the  middle  line.  This  is  an  earl\'  fashion,  which  goes 
back  to  the  Late  Bronze  .Age,  and  is  characteristic  of  the 
mainland  of  S\  ria  and  Asia  Minor  before  the  period  of  Assyrian 
influence.  Over  the  tunic  the  forepaws  of  the  lion-skin  are 
drawn  o\er  the  shoulders,  and  knotted  on  the  breast.  The 
lion's  scalp  encloses  the  hero's  head,  so  that  the  jaws  frame  the 
forehead  with  their  teeth,  showing  onl\-  one  row  of  hair  curls, 
and  the  three  short  tresses  which  fall  in  front  of  each  shoulder. 
The  e\  ebrows  are  "feathered,"  and  there  is  no  moustache. 
The  beard  is  broken,  but  seems  to  have  been  rendered  with 
wa\\' outline  against  the  face,  and  radial  locks,  as  on  1353.  Ihe 
features  are  in  the  broad  shallow  st}le  which  marks  the  first 
dawn  of  Cireek  influence,  and  should  be  compared  with  the 
life-si/e  head  i2<Si  in  I'loor-Case  XI 1 1,  though  that  is  rather 
later  in  sl\  le.  The  right  arm  was  cut  clear  of  the  side,  and 
is  broken  awa\-  from  the  shoulder  to  the  wrist,  but  the  position 
of  the  right  hand  is  clear,  where  it  grasped  a  bundle  of  four 
arrows  in  front  of  the  right  thigh;  compare  the  attitude  of 
the  smaller  llerakles  1093  in  Wall-C^ase  37.  The  left  hand, 
which  has  also  been  broken  awa}-  and  replaced,  now  holds  erect 
222 


LIFE-SIZE    FIGURES 


a  very  short   knotted  club,  which  is  separate  and   does  not    Centre 

belong  to  the  figure  for  certain,  though  it  is  shown  in  Doell's    (^^^^ 

drawing,  made  within  four  or  five  months  of  the  disco\er\-. 

Another  interpretation  is  suggested  by  the  long  curved  object 

which  runs  vertically  in  front  of 

the  left   shoulder,  and   is  broken 

abo\e  and  below.     This  ^ooks  like 

part    (probably   the  string)  of  a 

bow  held  in  the  left  hand  in  the 

same   position   as   in   the  smaller 

Herakles   1092   in   Wall-Case   37. 

i'hough  Doell  described  the  fig- 
ure as  holding  both  club  and  bow 

or  sceptre)  it  is  yet  possible  that 
the  indications  which  suggested 
the  replacement  of  this  club  ma\' 
reallv  have  represented  the  part 
of  the  bow  which  passed  through 
the  left  hand;  but  this  point  can- 
not now  be  determined,  for  when 
the  statue  came  to  New  York  it 
was  so  heavily  encrusted  with 
lime  that  even  the  patterned 
border  of  the  kilt  was  in\isible; 
and  in  removing  this  incrusta- 
tion', parts  of  the  ancient  surface 
haw  been  damaged.  In  particu- 
lar, it  is  no  longer  eas\'  to  decide 
whether  the  club  is  of  ancient 
work  or  not.  It  is  in  any  case 
disproportionalel}'  small  for  this 
statue.  The  lower  leg,  though  not 
recorded  bv  Doell,  seems  to  be- 
kmg  to  the  figure.  .About   (loo 

P..  C.        11.  7  ft.   i!  in 


I  5(10 


Doell,  \ii,  <),   17S;  Cyjirus,  PI.  .\  1 1 . 

1,  Lxxwiii,  5<S,. 

^61.      iNscKiBiJ)   SiAH  1.    01     A    BiAKi)i-,i)    X'oiAK^-,    in    Oriental 

sl\  K-  ;inci  I-.g\pti;in  dress;  lile-si/e.      I  hv  head,  1  hough  separate, 

seems  ccrtaiiil\    to   belong   to   it,   though   it    has   been   reset   a 

littK    m    achance   of   its    true    jiosition.       The    smooth    hea\\' 

l.gNlitian   v\  ig  tits  tightl\'  o\er  the   forehead,   but  rexeals  the 

223 


Centre 
(lase 


iin-;  coLi.i'Ci  ION  oi    sculptuki-; 

cars;  the  beard  is  also  smooth,  and  only  slightly  raised  from 
the  cheeks  ami  chin:  it  was  prohahI\'  intended  to  be  enhanced 
b\'  colour,  like  the  large  heads  in  the  same  st\le,  1271-1272, 
in  Floor-Case  Xll.  The  moustache  and  eyebrows  are  feath- 
ered in  low  relief,  hut  the  moustache  is  cut  short  above  the 


lip,  and  does  not  reach  the  sinuous  outline  of  the  beard.  The 
e\  es  are  in  almost  purel\'  Egxptian  st>le,  and  the  nose  promi- 
nent and  pointed.  On  the  surface  of  the  skin-tight  tunic  is 
outlined  a  panelled  pattern,  much  weathered.  The  belt  has 
the  Egyptian  winged  disc  for  its  clasp  in  front;  and  the  central 
panel  of  the  kill  has  a  panelled  design  like  that  on  the  tunic, 
and  also  traces  of  uraeus-snakes,  and  another  ornament,  which 
may  be  a  bird;  but  is  much  weathered  except  on  the  right-hand 
side.  The  side-folds  of  the  kilt  also  show  traces  of  surface 
decoration.  The  right  arm  hangs  by  the  side  and  is  completel>' 
cut  clear  of  it.  The  left  is  held  across  the  bod\-,  but  is  cut 
clear  of  it  above  the  elbow;  this  part  has  been  broken  awa\' 
and  correctly  replaced.     On  the  outside  of  the  forearm  is  an 

224 


LIFE-SIZE    FIGURES 

inscription  in  C\priote  characters:  "  I  am  (the  statue)  ofTami-  Centre 
goras."  It  has  been  suggested  that  the  writer  intended  ^^^'^ 
Timagoras,  which  is  a  common  Greek  and  C^xpriote  name; 
but  see  Appendix.  Both  legs  are  broken  awa>'  at  the  knee, 
which  shows  the  same  lozenge-shaped  rendering  of  the  knee-cap 
as  the  small  figure  1041  in  Wall-Case  31.  About  600-550 
B.  C.  H.  4  ft.  6h  m.  Doell,  ii,  6,  49;     Pcrrot,    tig.  356. 

I,  iii,  5. 

1362.  Beardud  Votary,  in  Oriental  style  and  Egvptian  dress, 
life-size,  in  the  usual  standing  pose.  The  head  is  separate 
but  certain!)-  belongs  to  the  body.  The  Eg\plian  wig  and 
beard  are  quite  plain,  as  on  1361,  and  there  is  no  moustache; 
the  eyebrows  are  in  low  relief.  There  is  no  trace  of  a  tunic; 
in  its  place  is  a  three-fold  pectoral  collar  of  Egyptian  st\ie, 
with  (i)  heart-shaped  leaves;  (2)  triangular  lotos  petals;  (3) 
oval  petal-pendants.  The  right  arm,  which  falls  loosel\-  and 
is  cut  clear  of  the  side,  has  a  spiral  bracelet ;  the  left  arm  crossed 
the  breast  but  is  broken  away.  The  belt  and  side-folds  of 
the  kilt  are  plain,  but  the  central  panel  contams  a  design  of 
four  uraeus-snakes.  The  legs  are  broken  away  below  the  knee, 
which  shows  rather  more  advanced  modelling  than  in  1361. 
.About  600-550  B.  C.         H.  4  ft.  5f  in.  I,  iv   6. 

1363.  BhARDtu  Princi-.lv  V'otary,  in  .Archaic  C\priote  st>ie  but 
Egyptian  costume,  nearl\'  life-size,  in  the  usual  standing  pose. 
On  the  head  is  the  double  crown  of  Eg\pt  with  uraeus-snake 
in  front,  somewhat  damaged.  Below  the  crown  two  rows  of 
small  curls  frame  the  forehead,  and  a  single  larger  row  lies 
behind  the  ears.  The  beard,  though  trinmied  so  close  as  to 
sh(AV  the  contour  of  the  chin,  is  rendered  with  rows  of  small 
curls  in  low  relief;  its  margin  is  clear  of  the  uKuith,  and  there 
is  no  moustache.  The  e\  ebrows  ha\e  very  shallow  ridges, 
upturned  at  the  end,  and  the  e\  es  have  the  flat  prominent 
look  which  marks  the  transition  to  mature  st\le.  The  mouth 
and  nose  are  more  finelv  modelled  than  usual.  There  is  no 
sign  of  a  tunic,  and  the  unusuallv  delicate  modelling  of  the 
b(;i.l\',  and  the  indication  of  the  na\'el,  suggest  that  none  was 
worn.  Instead,  there  is  a  triple  jiecloral  collar  of  heart-shaped, 
triangular,  and  pelal-shaiietl  pattern,  liki'  that  on  i3()2.  '!"he 
belt  has  a  scale  [latlern  in  small  panels,  not  imlike  that  on 
I  550.  The  right  side-fold  of  the  kilt  is  foldeii  well  across  I  he 
left,  as  in   13(10,  and  has  the  same  ball-fringe;  anti  the  central 

225 


THH  COLLECTION  OF  SCULPTURH 

Centre  panel   descends   from  within  with  a  design  of  uraeus-snakes 

'  (-•  lotos  flowers,  and  birds,  broken  away  below  the  knees.      This 

kill,  unlike  most  of  the  kills  in  ihe  Collection,  is  in  strict 
Hg\ptian  fashion.  The  left  arm  hangs  loosely,  and  is  separate, 
hut  certainl\'  belongs  lo  the  bod\  ;  the  right  arm  is  held  across 
the  breast.  Both  legs  are  broken  away  above  the  knee.  There 
is  red  colour  on  the  lips,  collar,  and  belt.  About  ,30  B.  C. 
H.  4  ft.  3^  in.  Doell,  i,  (),  43;  O)lonna-Ceccaldi,  PI.  vi,  i. 
C\-prus,  p.   131;     Perrot,  fig.  ^jH.  1,  xliii,  280. 

A  tiguresocarefullx'  modelled  in  Hgxptian  fashion,  so  richlv  adorned, 
and  distinguished  b\-  the  Ro\a!  Oown  of  Kg\  pt,  can  hardly  have 
been  meant  foran\one  but  an  I£g\ptian  king;  and  the  only  Eg\ptian 
king  who  reigned  within  the  period  to  which  this  statue  belongs  is 
the  king  most  likel\  lo  ha\e  been  commemorated  at  a  C\priote 
shrine,  namelx.Amasis  (Ahmes),  the  last  king  of  the  XXVl  Dynast}', 
who  reigned  from  570  to  525  B.  C,  and  is  recorded  t(j  ha\e  inx'aded 
and  conquered  (]\prus.  It  is  noteworthv  that,  though  otherwise 
in  Eg\-ptian  fashion,  this  figure  wears  a  beard  likea  Greek;and  that 
Amasis,  a  man  of  the  people,  who  rose  to  be  commander  of  the 
ro\al  arm\-,  caused  some  offence  according  to  Herodotus  (11,  172) 
b\-  refusing  to  conform  to  the  court  manners  when  he  came  to 
the  throne.  The  beard  worn  b\'  this  figure  is,  therefore,  no  ob- 
stacle to  this  identification. 

SCl'LFTCRHD    SARCOPHAGI 

In  all  the  earlier  tombs  of  Cyprus,  the  bodies  were  simph'  laid  out 
along  the  sides  of  the  floor  of  the  chamber  without  coffin.  But 
from  the  sixth  centur\-  onward,  stone  coffins  come  rarel\-  into  use. 
The  earliest,  such  as  i  365,  are  clearl\'  imitated  from  wooden  chests; 
rather  later,  in  1364,  the  influence  of  the  painted  cla\'  coffins  of 
Clazomenae  in  Ionia  becomes  evident;  and  b\-  the  end  of  the  fifth 
centurv,  Hellenized  imitations  of  Egyptian  mumm\'  cases  are 
introduced  from  the  S\rian  coast.  In  Hellenistic  times,  the 
presence  of  locks,  hinges,  corner  plates,  and  large  nails  shows  that 
wooden  coffins  were  again  in  use;  the  woodwork  has  usually;  per- 
ished, but  the  fittings  are  represented  bv  4985  ff.  in  the  (Collection 
of  Bronzes. 

1364.     Sarcoi'haois   with   C>ovbR,   said   to   ha\e   been    found   at 

(-  Cjolgoi.      The  sarcophagus  and   its  co\er  are  cut   each    from 

D  a  single  block  of  a  fine-grained  limestone,  whiter  and  rnore 

226 


SCULPTURED    SARCOPHAGI 

shelly  than  usual.    The  cover  is  perfect  aiul  has  a  gable  roof,  and    Centre 

a  recumbent  lion  at  each  corner.     The  sarcophagus  was  found    |^' 

with  its  east  side  broken  into  many  pieces  b\'  treasure-seekers, 

and  was  put  together  afresh  in  New  York  about   i(S8o.     The 

original    surface,    which    is    e\er\-where    roughened    b\-    long 

exposure  to  moist  tomb  air,  but  is  nowhere  seriouslx'  corroded, 

has  been  impaired  in  some  places  in  the  attempt  to  smooth 

the  joints.     A  dressing  of  powdered  C\priotc  limestone  and 

gum  arabic,  applied  in  1880  to  co\er  the  repairs,  was  remo\ed 

in  1909. 

All  four  sides  of  the  sarcophagus  are  decorated  with  scenes 

in  low  relief  as  follows: 

A.  West  Side.  Hunting  Scene,  in  which  two  \ouths  in 
Corinthian  helmets  and  breast-plates,  attack  a  boar  with 
spears,  and  two  others  a  bull  with  spear  and  bow.  In 
the  background  are  three  trees,  a  hound,  a  cock,  and  a 
grazing  horse.  B\'  a  change  of  design  during  execution 
an  unlinished  spear-shaft  is  shown  between  the  archer  and 
the  bull. 

B.  North  Knd.  Perseus  carries  off  the  head  of  the  Gorgon 
Medusa,  followed  b\-  his  dog.  As  the  Gorgon  dies,  the 
hero  Chrysaor  and  the  winged  horse  Pegasos  are  created 
from  the  blood  which  pours  from  her  neck. 

C.  Flast  Side.  Banquet-scene  of  four  couches,  on  which 
recline  one  elder  and  three  \-ounger  men,  attended  by  a 
cup-bearer,  a  flute-pla\er,  and  three  girls,  one  of  whom 
pla\s  a  l\re.  .Ml  the  figures  but  the  cup-bearer,  who  is 
unclothed,  are  in  ordinar\'  Greek  dress.  In  the  back- 
ground under  a  tree  is  the  mixing  bowl  for  the  wine. 

D.  South  Knd.  .\  four-horse  chariot,  with  a  beardless  dri\er, 
con\e\s  an  elderlx'  man,  who  probabh'  represents  the 
occupant  of  the  sarcophagus.  Both  men  are  in  sleeved 
tunic,  hea\\  cloak,  and  pointed  cap. 

'I  he  workmanship  of  these  reliefs  is  in  the  finest  archaic  Greek 
st}le,  with  onl\  the  slightest  hint  of  jirov  incialism  in  the 
rendering  of  the  faces  and  (lraper\  ;  the  armour,  dress,  and 
other  accessories,  such  as  chariot ,  couchi's,  and  drinking  \essels 
are  purel)'  (ireek,  and  ihe  sarcojihagus,  if  made  in  ( "\prus 
at  all,  must  ha\e  been  car\ed  hv  an  artist  Iraint'd  in  one 
of    the   great    schools   of   lln'  .Aegean.      About    300-430   ['>.  C. 


Centre 


IHH    COLLHCIION    OF    SCL!  LPTLR1-; 

Centre  L.  6  ft.  yi  in.      H.  with  coxcr,  3   ft.    2  in.       H.   of  legs,    ,   in. 

^^p  H.   of  cover,    i    ft.    \},    in.       1..    6  ft.  q\  in.     C\prus,    PI.    X; 

Pcrrot,  tig.  41Q-21;  Colonna-Ccccaldi,  Rc\.  Arch.,  1875,  PI.  ii; 
Monuments  antiques  de  (2\pre,  PI.  \i;  M\Tes,  Antike 
Denkmaler,  iqoq-ii,  i-\i.  I,  Ixxiv,  476-9. 

mOv     Sarcophagus   with   (]ovf.r,   said   to  have  been   found   at 

Case  Amathus:  the  reputed  place  of  discover\',  a  four-chambered 

^  tomb  of  fine  masonrx',  was  still  shown  in  i(S94,  close  below  the 

surface,  in  le\e!  ground  northeast  of  the  acropolis:  the  dimen- 
sions gi\en  b\-  the  discoverer  {Cyprus,  p.  254-270)  are  approxi- 
matel>'  correct;  but  the  depth  below  ground  is  overstated. 
Sarcophagus  and  cover  are  each  cut  from  a  single  block  of 
coarse  limestone.  The}'  were  found  broken  into  man\'  pieces 
b\'  treasure-seekers,  and  were  put  together  with  hard  white 
plaster  in  C\prus.  Part  of  the  North  End  (D)  and  most  of 
the  co\er  are  lost,  and  the  surfaces,  never  vcr\'  good,  have 
suffered  much  from  damp.  Thev  were  loaded  originall\- 
with  a  hard  limewash  richl\-  coloured  with  black,  red, 
yellow,  and  blue.  The  last  has  mostlx'  turned  to  green;  but 
this  green  is  so  thick  and  loose  that  it  ma\'  in  part  result  from 
thedecax'  of  gilded  copper-foil.  Most  of  the  colour  which  still 
remains  is  ancient,  except  about  the  plastered  fractures,  and 
was  thoroughl\'  cleaned  in  1909. 

The  sarcophagus  is  designed  like  a  wooden  chest,  with  up- 
rights at  the  corners,  decorated  in  low  relief  with  Oriental 
sacred  trees  and  bands  of  palmettes  and  i\\'  leaves,  joined 
b\'  horizontal  framing,  which  encloses  a  deeply  recessed  pane) 
on  each  of  the  four  sides,  containing  sculptured  figures  in  high 
relief,  in  Archaic  C\priote  st\ie.  Above  is  a  richl\'  moulded 
cornice;  and  similar  mouldings  are  repeated  on  the  panel 
frames.     The  reliefs  in  the  panels  are  as  follows: 

A.  East  Side.  Shows  a  procession,  consisting  of  an  advanced 
guard  of  two  horsemen  riding  abreast,  followed  b\'  two 
chariots  with  horses  richl\-  harnessed  and  plumed.  The 
driver  of  the  first  chariot  is  the  principal  personage  — 
and  probabl\-  the  occupant  of  the  sarcophagus  —  for 
over  him  an  attendant  holds  an  umbrella.  The  second 
chariot  has  two  occupants  besides  the  drixer. 

B.  West  Side.  Continues  the  same  procession,  with  two  more 
chariots,  followed  b\-  a  rear-guard  of  three  foot-soldiers 
carrx'ing  spears  and  round  shields.     .AH  the  soldiers  v\ear 

228 


I364A 


1364c 


1 5041', 


1 504I) 


SCULPTURED    SARCOPHAGI 

short  tunics,  and  the  horsemen  ha\e  pointed    caps:    the    Centre 
occupants  of  the  chariots  seem  to  wear  full  dress  of  tunic    p 
and  cloak,  and  all  but  one  are  bearded. 

C.  South  Knd.  Contains  four  nude  figures  of  the  Mother 
Goddess,  standing  erect  and  full  face,  and  support- 
ing their  breasts  with  their  hands.  Each  wears  a  close- 
fitting  collar  of  beads,  and  two  looser  necklaces  with 
pendant.  Their  hair  is  in  man\  close  curls,  and  two  long 
tresses  fall  in  front  of  each  shoulder. 

D.  North  End.  (Contains  four  grotesque  bearded  male 
figures  of  the  Oriental  Bes,  an  Eg\ptian  dwarf  deit\- 
who  sla\s  monsters  and  seems  to  ha\e  been  in  some  degree 
confused  with  the  Greek  Herakles.  Thex  arc  shown 
running  to  the  right,  in  short  kilts  with  ball  fringe.  Their 
legs  alone  are  in  profile,  and  their  upper  part  is  full  face. 
The  onI\  head  which  is  fully  preserved  seems  to  ha\'e 
horns,  as  well  as  a  beard. 

The  Co\er  is  of  gable  form,  with  a  rich  design  of  scrolls 
and  palmettes  on  the  end,  and  a  palmette  on  the  ridge 
between  two  seated  sphin.xes  on  the  slopes  of  the  pediment, 
rendered  in  .Archaic  C^}priote  st\le,  like  i0(S6-g,  with 
scrolled  wings  and  long  tresses  of  hair  behind  the  neck. 
Probabl\  about  5,0-500  B.  C.  Dimensions,  7  ft.  gj  in. 
X  5  ft.  2  in.  .\  3  ft.  22  in.  Cxprus,  Pis.  Xl\',  X\',  and 
p.  267  (co\er);  Perrot,  fig.  415-!^.  .\l\res,  .Antike  Denk- 
maler,  1909-11,  \-\i.  I,  cxlix,  ii(S4-5;cl,  i  iS'6-7. 

136O-7.  Sarcophagi  oi  Whitf-,  Marbli-  of  a  form  imitated  from  Floor 
F:g\ptian  mumm\-shaped  sarcophagi,  which  were  occasionally  '^' 
exported,  and  imitated  in  Phoenicia,  and  also  at  (Carthage. 
A  native  cop\  in  (]\priote  limestone  of  the  end  of  the  fifth 
centur\ ,  from  a  rich  tomb  at  Amathus,  is  in  the  British  Museum. 
These  examples,  however,  are  in  white  marble  (of  different 
qualities,  but  both  probabl\-  S\rian)  smoothlx'  dressed,  but 
not  polished,  except  the  face  on  i  3()().  Iheir  lids  fit  onto  the 
under  part  with  a  slight  internal  rebate,  and  have  small  pro- 
jections at  head  and  fool  and  at  i-ach  shoulder,  b\'  which 
the\'  could  be  lifted.  ()nl\'  the  fice  and  the  lei'l  are  indicated; 
the  latter  bv  a  mere  transxiTse  ridge.  I  hese  sarcojthagi  differ 
slightl\-  in  st\le  and  date. 

I  ]()()  has  no  moulding  at   all  on  the  bod}'.      I'he  face  copies 
233 


iHi;  coi.i.i-crioN   oi-   scim.piuri-; 

l-loor  Circck  work  (if  tlir  lati'  filth  ccntur\',  with  the  hair  drawn  apart 

*  on  the  hrow,  beneath  a  hood  or  sliroud,  in  loose  wav\-  masses 

Annex  •      . 

which   cover   the   ears.      I  he   e\es   are   wide  and   prominent, 

with  narrow  lids;  the  nose  long,  narrow,  and  slighth'  concave; 

the  lower  part  of  the  face  rather  fuller  than  its  stvle  recjuires. 

On  the  foot  end  of  cover  and  under  part  is  cut  the  Phoenician 

letter  \\ .     The  marble  is  coarse  grained,  and  of  good  white 

quaiitx'.         About  400  B.  C.      L.  7  ft.  4^  in.      C}prus,  p.  2<S<S. 

1,  xci,  5QO. 

1367  is  slightl\'  modelled  to  the  profile  of  a  shrouded  body. 

The   face   is   broader  and    heavier  than    1366,   and  follows  a 

Greek  model  not  earlier  than  the  fourth  centur\'.     The  hair 

frames  the  face  in  large  rudel\'  worked  curls,  displacing  the 

ears  almost  to  the  shoulders,  o\er  which  a  threefold  tress  of 

hair  comes  forward  on  each  side.      The  e\es  are  deeper  set  than 

in  i3()6;  the  nose  is  broad  and  square,  and  the  lower  lip  rather 

over-full.      I'he  marble  is  less  cr\stalline,  and  of  cream\'  tint. 

About  400-350  B.  C.  Oft.   Ill  '"•  Doell,  xii,  (),  834; 

(^\prus,  p.  2(S8,  53.  I,  xci,  3(89. 

MISCHLL.XNEOUS    RHLlIiFS    AND     ARCHITHCTUR.-XL     [RAGMHNIS 

PlQor    '"^  Moor-Cases    F  and  G   are  placed  a  few  reliefs  and  other  sculp- 
(^ase    tured  fragments  of  various  dates  and  st\Ies. 

Fast    '  3^>''^-     ScLLi'TL  Ri-.D  Slab:  Hhraklhs  and  the  Catfle  of  Ghryon, 
Side  On  a  rectangular  block,  damaged  at  the  edges,  is  a  \er\'  shallow- 

panel,  containing  low  relief.  Herakles  ad\ances  from  its 
left-hand  end,  on  rising  ground.  He  seems  to  wear  nothing 
but  his  lion-skin,  the  tail  and  hind  claws  of  which  hang  about 
his  knees.  His  upper  part  is  damaged,  but  he  seems  tt)  have 
held  his  bow  outstretched  before  him  in  his  left  hand,  while 
his  right  is  raised  behind  his  head,  either  drawing  the  bow, 
or  wielding  his  club,  in  the  pose  of  io()()  in  W'all-C^ase  37,  and 
the  well-known  coins  of  Kition  in  the  fifth  centurw  The  rest 
of  the  scene  is  divided  horizontallx'  into  two  stages,  a  primitixe 
method  of  representing  nearer  and  more  distant  objects.  .\t 
the  far  right-hand  end  of  the  upper  stage,  Gerxon's  three- 
headed  dog,  Orthros,  of  the  same  smo(jth-coated  breed  as  1223 
in  \\'all-(2ase  47,  springs  furiouslx'  towards  Herakles,  but  is 
transfixed  bv  an  arrow  in  the  neck.  Ger\'on  himself  does  not 
appear:  he  ma\',  howe\er,  have  stood  further  to  the  right, 
where  the  slab  is  now  broken  awa>'.     In  the  lower  register  the 

234 


RHLIHFS    AND    ARCHnHCTURAL    FRAGMENTS 


monstrous  herdsman  Eurvtion  drixcs  a\va\'  the  cattle.  He 
is  a  thick-set  sat\r-like  figure  with  rough  hair  and  beard,  and 
a  long  cloak  hangs  from  his  shoulders.  As  he  strides  away, 
screening  the  cattle  with  an  uprooted  tree,  he  turns  back  to 
threaten  Herakles  with  raised  right  hand,  which  seems  to 
hold  a  stone.  The  cattle  are  vigorously  rendered,  in  strongly 
Hg\ptian  fashion,  and  a  fine  effect  of  number  is  gained  by 
multipl\'ing  the  legs  which  are  shown  beneath  the  nearer 
animals.  The  whole  background  was  original!}'  coloured  red, 
to  enhance  the  effect  of  the  very  low  relief. 


Floor 
Case 
V 

F.ast 
Side 


1368 

The  whole  composition  is  in  the  finest  Archaic  Cypriote  style. 
About  550-500  B.C.  H.  I  ft.  H]  in.  W.  2  ft.  io|  in.  Doell, 
xi,  6,  763;  C^\prus,  p.  1 3(1;  Perrot,  fig.  387;  Colonna-Ceccaldi, 
Rev.  Arch,,  1(872,  PI.  XXIV,  21;  Monuments  anticiues  de 
(^\pre,  PI.  V.  1,  cxxii,  912. 

i36()-7i.     I"ka(..\ii_ni  AKY    RhLHJs    in    .Mixed   Oriental    st\le:    all 
about  ()5o-5  5o  H.  i]. 

I  3()()  shows  jiart  of  a  tri'i'  with  lea\es  and  fruit,  between  two 
eagles  in  elaborate  conxi-ntional  plumage.  '\hv  style  re- 
sembles that  of  I  ]()X,  but  the  work  is  coarser  and  on  a  larger 
scale.  11.  10',  in.      W.  14  in.  Doell,  xin',  15,  830. 

1,  xx\ii,  86. 
]  ]~(>  seems  to  be  part  of  the  belt  antl  kilt  panel  of  a  large 
statue;  betwet'n  broad  margins  runs  a  jiroci'ssion  of  fantastic 
animals  frc^m  left  to  right;  a  human-headed  sphinx,  bearded 

235 


IHH    CX)LLHCT10N    OF    SCULPTURE 


Floor 
Case 
F 
East 
Side 


Floor 

Case 

F 

West 

Side 


and  liolmcted;  another  winged  figure  (damaged),  and  a  lion. 
H.  7.^,  in.  I,  xxvii,  80. 

nyi,  also  pari  of  a  belt  or  frontlet,  shows  a  fight  between  a 
lion  and  a  bearded  Herakles  in  lion-skin  and  short  tunic,  armed 
with  a  short  sword.  Behind  the  lion  is  the  bow  of  an  archer, 
attacking  from  behind.  Behind  the  man  is  a  conventional 
lotos  tree.  H.  OJ  in.  I,  cxxii,  90. 

1372.  Sarcophagus  Front,  of  compact  limestone,  rebated  behind 
to  fit  the  end  pieces  of  the  sarcophagus,  which  seems  to  have 
been  complete  when  discovered.  In  low  relief,  within  a 
moulded  border,  are  two  wreaths,  between  two  bulls,  which 
face  inwards  on  rectangular  bases.     Note  that  their  horns  arc 


1 572 


set  full-face,  though  the  rest  of  the  head  is  in  profile.  Ihey 
are  rendered  in  a  stiff  archaic  style,  reminiscent  of  bronze- 
work,  and  beyond  these  are  ring  handles  like  those  of  a  bronze 
chest,  carved  in  relief.  The  breed  is  the  same  as  the  cattle 
of  Gervon  on  1368.  The  st\'le  of  this  relief  is  unusual,  and 
its  date  quite  uncertain.  L.  5  ft.  9  in.  Doell,  xii,  10, 
83=5;     Cyprus,    p.    54- 

1373.  Carved  Stei^  from  a  Ihkonh,  on  the  riser  of  which  is  a 
panel  with  arched  upper  margin,  in  which  is  carved  in  low 
relief  and  barbarous  st\le  a  lion  pulling  down  a  bull.  Both 
are  drawn  full-face,  though  otherwise  in  profile.  On  either 
side  is  a  rosette,  with  a  spray  of  lotos  flowers.  There  is  red 
paint  on  the  background,  and  the  bases  on  which  the  ar'mals 
stand.  The  inscribed  step,  1858  (1,  Ixxxv,  560),  in  the  Collec- 
tion of  Inscriptions,  with  a  chimaera  in  similar  style,  probabh' 
belonged  to  the  same  structure  as  this  one.  Probably  of  the 
early  sixth  century.     L.  i  ft.  1 1  in.     H.  7^  in.     Cyprus,  p.  159. 

1,  cxxii,  go6. 

236 


RELIEFS    AND    ARCHITECTURAL    FRAGMENTS 


1374.     pRAGMtNTARV   Rklief,  apparently  part  of  a  pedimented 
gravestone,   with   damaged   surface  stained   by  fire.     In   the 


Floor 

Case 

F 

West 

Side 


■373 

pediment  is  a  rosette  between  seated  lions,  with  a  palmette 
abo\e,  and  a  cable  border.  About  400-300  B.  C.  H.  9^ 
in.  1,  xxvii,  84. 

1375.  FRAGMr:NTARY  RhLii:F,  part  of  the  high  head-dress  (polos) 
of  a  large  female  statue,  with  spiral  foliage  and  flowers  in 
relief,  and  an  upper  border  like  a  mural  crown,  with  towers  in 
relief.  A  similar  head-dress  appears  on  heads  of  .Aphrodite 
on  coins  of  Salamis  in  the  fourth  ccntur\':  see  3670-1  in  the 
Collection  of  Ornaments,  and  the  British  Museum's  Coin  Cata- 
logue, ((^v'prus),  PI.  XXIV,  10,  II,  21,  22;  also  coins  of 
Paphos  (B.  M.  (^at.  V'lll,  8)  and  the  C\priote  terracotta 
figures  (B.  .\1.  Cat.  Terracottas,  A  278-9,  PI,  I\').  After  350 
B.  C.         H.  7^  in.                                                       I,  xx\ii,  102. 

1376.  Triancular  (Capital,  with  Cxpriote  \()lutes,  below  which  Floor 
is  an  egg-and-dart  ornament;  small  palmettes  issue  from  ^''^^ 
within    the   \olutes.         .About   450-400   B.   C.  H.   8i'V,   in. 

D.  13  in.  1,  i,  I. 

1377.  OjRiNriiiAN  (>ai'itai.  of  debased  design,  much  damaged. 
The  hea\\'  abacus  is  of  three  tiers,  with  zigzag  ornament  on 
the  edges,  and  the  upper  surface  is  adorned  with  leaves  and 
flowers  around  a  small  circular  caxitw  I'his  capital  was,  there- 
fore, designed  to  stand  free,  and  probabl\-  si"r\ed  as  a  table 
of  offerings  or  receptacU'  for  hol\'  water.  Lustration  was 
usual  in  ancient  sanctuaries,  and  the  spra\s  of  lea\es  com- 
monh'  held  hv  votaries  are  thought  to  ha\e  been  used  to 
sprinkle  the  water,  as  in  Israelite  ritual.  11.  io|i';  in.  lop, 
I  3s  X  1 2s  in.  1,1,2. 

2^7 


THH    COLI.HCTION    C)l-    SCLI  LP  TURl-; 

Floor    1^78.     SyL'ARi:  CImmiai.,   with  cLishion-shaped   body,  and  degen- 

'^?  crate  Nolutcs,  rendered  by  concentric  circles:  between  them, 

on  each  lace  ot  the  capital,  is  a  rosette,  and  similar  rosettes 

adorn  the  collar  below.     Uncertain  date.        11.  ]^\  in.      lop, 

i8.\  X  18:]  in.  1,  i,  3. 

1370.  X'oTivi:  Thronh,  with  high  back  and  arms,  designed  in 
imitation  of  wooden  frame  and  panelling.  The  central  panel 
of  the  back  is  filled  with  a  \olute  capital,  \er\'  roughl)-  exe- 
cuted, and  there  are  rough  scratches  on  the  arms,  indicating 
hands  and  a  tree.      Uncertain  date.  H.  2  ft.  6^  in. 

1,  lxxx\-,  555. 

1380.  Stom-;  Bowl,  nearl\'  spherical,  with  two  roughly  hewn 
handles,  from  each  of  which  hangs  a  indmette  in  low  relief. 
Round  the  bod\'  is  an  iv\-  wreath,  also  in  low  relief.  This 
bowl  was  probabh'  designed  as  a  la\er  for  hol\'  water,  like 
the  gigantic  howl  from  the  acropolis  of  .\mathus,  now  in  the 
Lou\re,  and  the  fragments  1854,  1863-4,  "''  ^he  Collection  of 
Inscriptions.  .About  530-500  B.  C^  H.  about  17  in. 
Doell,  xiii,  11,  807;     (^\prus,  p.  145. 

With  these  objects  is  placed  an  alabaster  \ase  with  lid,  of  unusual 

size  (i()()()),  which  is  described  with    the  other   alabaster  \ases   in 

Wall-C^ase  74. 


TO.MBSrONFS  AND    STELAE,  WITH   RELIEES 
VARIOUS  PI.RIODS  AND  SI  YLI.S 

The  Wall-C^ases  of  the  .Annex  contain  examples  of  the  late  tomb- 
stones with  sculptured  reliefs;  earlier  tombstones  surmounted  b\' 
lions  or  sphinxes;  \t)ti\e  stelae  with  rich  capitals  car\ed  in  relief 
with  \'olutes  and  lotos-palmetles;  and  a  few  other  pieces  of  \()ti\e 
sculpture. 

m8i.  Statlh  01-  A  Lady  and  hhr  .VLaid.  The  lad\-  sits  full-face 
on  a  folding  chair,  in  a  loose  slee\ed  tunic,  with  a  knotted  belt, 
and  a  cloak  which  is  drawn  oxer  the  back  of  the  head  for  a 
\eil,  and  falls  over  both  shoulders  and  both  knees.  Her  right 
hand  lies  in  her  lap;  her  left  rests  on  a  toilet  box  otTered  by 
the  maid,  who  stands  to  the  left  of  her  mistress,  and  holds  an 
oinochoe  in  her  left  hand.  The  lad\''s  face  is  much  damaged, 
and  the  head  and  left  arm  of  the  maid  are  broken  awa\'.     On 

238 


Wall 

Case 

51 


lOMBS'lONHS    AND    STHLAE,    WITH    RELIEFS 

the  pedestal  below  the  maid's  feet  is  the  inscription   "Zoilos    ^^'^" 
of  Golgoi  was  the  maker."     See  Appendix.  ^  ^  ^ 

The  stvle  is  Graeco-r^oman,  probably  of  the  first  or  second 
centur)'  A.  D.  The  composition  of  this  group  follows  that  of 
the  funcrar}'  reliefs  of  Attica;  but  there  is  here  no  frame  or 
background,  and  the  treatment  is  as  nearl\-  in  the  round  as 
the  qualit_\-  of  the  limestone  permitted.  It  is  not  clear,  there- 
fore, whether  it  was  intended  to  be  votive  or  funerar\-;  but 
it  is  not  usual  for  funerar}'  sculpture  to  be  signed  b\'  the  artist. 
H.  3  ft.  8f  in.     \V.  2  ft.  10  in. 

1,  cxxxviii,  1032;  111,  cl,  Suppl.  4. 

In  Wall  Cases  52-57  are  a  number  of  representations  of  lions  of 
xarious  periods  and  stxles.  The  lion  is  not  onh'  a  frequent  attri- 
bute of  Herakles  (1  101-7),  but  was  also  popular  in  antiquity  on  its 
own  account,  as  a  sxmbol  of  majest}'  and  power,  and  also  in  purely 
decorative  art.  In  criticizing  ancient  representations  of  lions 
we  have  to  remember,  on  the  one  hand,  that  the  beast  was  not 
extinct  in  Europe  in  the  fifth  centurx',  and  survived  later  still 
in  Western  Asia;  consequentl\',  a  naturalistic  treatment  in  art  was 
not  impracticable,  as  ma\'  be  seen  in  Mxcenaean  gems  and  gold 
work  of  the  centuries  before  the  twelfth,  and  in  Assxrian  sculpture 
of  the  eighth  centurw  On  the  other  hand,  conventional  render- 
ings of  the  lion  were  popular  in  all  the  great  centres  of  art  and 
industry',  and  were  widel\'  distributed  and  copied.  In  C^)prus  the 
principal  t}pes  are  as  follows: 

I.  A  Cypro-Al\cenaean  t\pe,  introduced  about   1300  B.  C,  and 

perpetuated  until  the  latest  da\s  of  the  settlement  at  ['"nkomi; 
almost  purel\-  naturalistic,  e.  g.,  British  .Museum  Excavations 
in  (~\prus,   PI.   11,  402,872  B. 

II.  An  (Oriental  and  mainly  Anatolian  l\pe,  introduced  before 
700  B.  ('..;  highl}'  ctrnventional,  wilh  human  e\  es,  simple 
massive  forms,  and  few  details.  The  mane  encloses  the  lace 
and  the  ears  project  through  the  mane.  This  l_\pe  predo- 
minates in  (Apriole  art  until  about  s3o  V>.  ('.. 

III.  A  Western  tvpe,  developed  in  Greece  from  Oriental  models 
akin  to  I'vpe  II,  hut  belra\ing  also  indeix'nck'nt  study  of 
living  detail.  I  lie  hair  anil  e\  rs  in  particular  are  ren- 
(leretl  with  truth,  varietv,  and  \  isiour.  I  his  Western  Ivpe 
readies  G\  prus  about  500  1).  G.  and  eveiitualh'  replaces  the 
older   t_\  pes  altogether. 

239 


1H1-:    COLLHCTION    OI-    SCI' I.I'TLRi; 

Wall    Most  of  the  monuments  on  which  these  lions  are  placed  seem  to 
Case    1-,^,  tombstones.      Some,   ho\\e\  er.   are   said    to    ha\e   been    found 
'      within  a  sancluarx',  and  such  \-oti\e  or  commemoratixe  lions  arc 
well  known  in  the  hol\-  places  of  Cireece.      Two  examples  (1387-8) 
are  from  the  cornices  of  small  buildings,  probablv  shrines  or  built 
tombs,   and   show   the   lion's   scalp  applied  to  decorate  rainwater 
spouts,  or  merelx'  as   a   recurrent   ornament.     Compare   the  lion- 
headed  water-spouts    soIt-()  in  the  (Collection  of  Bronzes. 
Wall     1382-5.     To.MBSioNi-.s    w  1 1 H    Banoiht    Schnhs,    sometimes    sur- 
Cases  mounted    b\-    lions,    dexeloped    under   late    Hellenic    influence 

'  '  '  from  the  earlier  lion-stelae  in  \\'all-(Cases  t4-(),  and  imitated 

roughl\',  in  Decadent  Cypriote  st\le.  from  the  framed  funerar\' 
reliefs  of  the  fourth  and  third  centurx'  in  Cjreece.  That  the 
rudeness  of  the  work  does  not  necessarih'  imph'  a  later  date 
for  these  copies  is  clear  from  the  lions  in  \'er\  similar  st\le 
on  the  fourth  centur\'  coins  of  .Amathus  and  other  cities  of 
CC\prus.     Compare  the  similar  banquet  scenes  1020  and  1859. 

\^H2,  which  is  much  damaged  and  has  no  lit)n,  seems  lo  ha\e 
had  two  such  reliefs,  set  one  abcne  another.  The  principal 
scene  shows  a  famil\'  banquet.  .A  woman  and  a  bearded  man 
recline  on  a  couch,  j'acing  another  woman,  who  holds  fruit 
and  other  objects  in  her  lap.  The  man  holds  a  drinking  bowl. 
in  front  of  the  couch  stands  a  child  in  long  tunic  with  sleexes; 
its  right  hand  rests  in  the  left  hand  i)\  the  man  on  the  couch, 
probabl\'  the  father,  in  a  gesture  of  farewell.  The  mother, 
behind  him,  la\s  her  left  hand  on  the  child's  shoulder.  There 
are  traces  of  red  paint  on  the  figures,  couch,  and  on  a  CCxpriote 
capital,  of  which  part  remains  below  the  panel.  It  probabh' 
framed  a  second  panel  as  on  1383.  H.  1  ft.  10  in.     W.  i  ft. 

10',  in.  1,  cxxi,  ()o2. 

1383  shows  a  lion  recumbent  with  forepaws  crossed,  and  two 
panels  of  relief.  The  upper  is  a  banquet  scene  of  two  recum- 
bent bearded  men,  one  of  whom  holds  a  drinking  cup,  the 
other  a  tlask.  Behind  them  stand  two  children.  The  lower 
relief  is  almost  entireh'  broken  awaw  Fl.   i   ft.   10  in.     W. 

I  f t .  I  1 1  in. 

\\;i]l  1384  shows  onh"  a  sealed  lion  from  the  top  of  the  slab.      1  he 

Case  head  is  turned  to  face  the  spectator,  and  the  mane  is  rendered 

'^  b\-  \er_\-  rough  radial  locks.       This   t\pe  appears  on   coins  of 

Amathus  in  the  middle  of  the  fourth  centur>' :  British  .Museum, 

240 


TOMBSTONES    AND    STELAE,    WITH     RELIEFS 

Coin  Catalogue  (C\prus),  PI.  II,  3-6;  X\1II,  2-4.  H.  i  ft.  5I    Wall 

in.  Ferret,  fig.  407.  I,  Ixxxix',  549.    ,'^^^ 

1385  has  the  same  recumbent  lion  as  1383,  and  in  the  panel 

a  banquet   scene,   reduced  here  to  a  single  recumbent  man, 

with  full  beard  and  wreath.     He  supports  his  head  with  his 

left  hand,  and  holds  fruit,  or  a  flask,  in  his  right.     The  upper 

border  of  the   panel   has  an   egg-and-dart   moulding.     There 

is  red  colour  on  the  back  of  the  panel,  and  on  the  lion's  mouth 

and  mane.  H.   i   ft.  6g  in.  1,  cxxi,  898. 

in  Wall-Cases  34-7  are  grouped  other  representations  of  lions,  from 

tombs  and  architectural   fragments,  selected  to  illustrate  the  se- 

c]uence   of   t\pes.      For   con\enience   of  exhibition,    this    series    is 

arranged  in  rexerse  order,  from  latest  to  earliest. 

1386.      ToMBSTONH  w n  H  Recumbhnt  Fion,  in  Mature  C}'priote    \\'all 

stxie,   under  Hellenic  influence.     Ihe  head  is  well  modelled, 

:  -  .  34 

with   smooth   lace,   sc]uare  mouth    tullx'   opened,   and   tongue 

protruded  between  large  fangs.      The  mane  falls  back  from 

the  face  and  covers  neck  and  breast  in  irregular  locks.     1  his 

shows  Greek  influence;  but  the  ears  are  still  enclosed  within 

the  mane.         Abf)ut  500-400  B.  C.         H.  i  ft.  6|  in.     F.  2  ft. 

8,7  in.  I,  xcv,  635. 

1387-8.  (Cornices  with  Fion  Heads,  in  almost  purely  Hellenic 
st\le.  The  muzzle  is  short  and  broad,  and  the  mouth  half 
closed,  though  the  tongue  protrudes  (1388).  The  ears  stand 
clear  of  the  mane.  After  400  B.  C.  F.  i  ft.  3  in.,  2  ft. 
I  in.  I,  83  (1387),  xcv,  638  (1388), 

1389-90.     Tombstones    with     Fions,  in     Mixed    Oriental    st}ie.    Wall 
.-\bout  ()00-5so  B.  (>.  /^^'^ 

In  1389  the  lions  sit  back  to  back,  turning  their  heads  full-face. 
The  exes  are  xerx'  large,  muzzle  depressed,  mouth  half  open, 
with  protruded  tongue.  The  ears  are  large  and  erect,  and 
stand  within  the  mane,  which  is  only  lightlx'  indicated.  On 
the  face  of  the  stele  is  a  crc>scent-and-disc.  F.  2  ft.   il   in. 

1,  xcv,  ()42. 
In  1 390  the  lions  are  set  back  to  back,  but  the  artist's  intention 
wavers;  the  forepaws  are  crossed  as  if  recumbent,  but  the 
hind  (juarters  are  raised  as  if  thex  xvere  crouching  to  spring. 
The  exes  are  small,  the  muzzle  narrow;  the  ears  are  erect 
and  within  the  mane,  xvliich  is  a  smooth  mass  tapering  on 
the  back,  and  falling  to  the  forep;i\vs.  On  the  face  of  the  stele 
241 


Wall     1 
Case 
3(' 


IS  a  winged  cIisl. 
p.   I lo. 

^Qi-2.      Lion   Hi-aos  in  Oriental  st\ 


THF.    r.01,l.r.(.T10N    OF    scrLnuRF. 

1.  2  It.         Duel!,  xiii,  i6,  826;     Cyprus, 

I,  cxxii,  909. 

rom  tombstones  or  from 
statues  of  Herakles  the  I, ion-Killer,  like  1101-5.  The  e\es 
are  prominent ;  mu/./.le  short  and  square,  with  traces  of  whiskers 
in  n(-)2.  The  ears  of  \^(.)2  stand  within  the  mane,  which  is 
a  single  mass  with  abrupt  margin;  in  1391  the  ears  are  erect, 
but  damaged  st)  that  their  relation  to  the  mane  is  not  clear. 
.About  d^o-Ooo  B.  C  Hs.  S  in.,   y\  in  Perrot,  tig.  408 

(1391).  I,  Ixxxiv,  548,  550. 

393.     l~o.MBSTOM-  WITH  LioN  in  Oriental  st\le;  seated  with  head 
turned   full-face.     The  style  is   \igorous,   though    thorough!}' 

conxentional,  and  shows 
stronglx'  marked  Hittite 
intluence.  The  e\es  are 
modelled  like  those  of 
the  early  human  figures. 
The  nose  is  broad  and 
Hat;  the  upper  lip  swol- 
len, with  traces  of  whisk- 
ers; the  mouth  w  ide  open 
with  straight  upper  jaw, 
rounded  chin,  and  ioiir 
concentric  lolds  at  the 
angles.  The  tongue  is 
broad,  Hat,  and  onh' 
\er\'  slightlx'  out  of  the 
middle,  a  tirst  hint  of 
naturalism.  The  ears 
are  round,  and  slope 
backwards  within  the  mane,  which,  is  smooth  and  flat,  encircling 
the  face  and  prolonged  backward  to  an  irregularl\'  scrolled 
margin  on  the  shoulder.  The  foreleg  has  a  prominent  fold 
along  its  protile,  reminiscent  of  .Assxrian  conxention.  I'ore- 
feet  and  hind  c]uarters  are  missing.  .About  7()o-(>5o  B.  C 
H.  I  ft.  2\  in.  1,  xc\,  641. 

:394.  Si-Ari-i)  Lion,  probabl\-  from  a  tombstone  like  138^,  in  a 
barbaric  st\  le,  with  wide  mouth  and  mane  rendered  in  rough 
locks,  but  falling  to  a  point  on  the  breast,  and  sharply  defined 
on  the  shoulders  and   back:  compare    i385-{).     The  free  use 

242 


1391 


TOMBSTONHS    AND    STELAH,    WITH    RHLIEFS 

of  red  colour  indicates  a  late  date.      Prohabl}'  about  400  B.  C. 
H.  \2l  in.  I,  xcv,  637. 

1395.  Relief  with  Lions  in  .Mixed  Oriental  st\le.     On  a  nearly    \\aii 
rectangular  slab,  much  damaged,  is  a  combat  between  a  man     *^'^ise 
and  two  lions  which  attack  him  from  either  side,      it  is  the    ''' 
motive  of  the   "IJon    Killer,"   made  sxmmelrical   hv  adding 
another  lion,  as  on  Oriental  and   .Minoan  gems.     The  work 

is   hea\"\'   and   coarse.         .About    (joo-^^o    B.    C.  H.    i    ft. 

4;  in.     L.    I    ft.  -jl  in.  Doell,  xi,  9,  773.  C\prus,  PI. 

xhiii  (topj.  1,  xci\',  627. 

1396.  Relief  with  Lion  and  Bull,  in  Mixed  Oriental  st\ie. 
The  slab  resembles  1395  in  shape  and  treatment.  .A.  lion 
jnills  down  a  bull  from  in  front.  Behind  the  lion  stands  a 
kilted  figure  holding  some  object  in  his  hand.  Behind  the 
bull  is  another  human  figure  robed  to  the  ankles.  About 
600-350  B.  C.  IT  I  ft.  yl  in.  L.  2  ft.  2  in.  Doell,  xi, 
S,  772.         Cxprus,  LI.  xhiii  (bottom).                      1,  xci\-,  ()26. 

In  W'all-C^ases  7(8-62  on  the  North  Wall  of  the  .Annex  are  examples 
of  the  late  tombstones,  with  portrait  reliefs  in  Hellenistic  and 
Cjraeco-Roman  st\ie.  This  l>pe  of  monument  begins  with  the 
bamiuet  scenes  i  582-3,  and  persists  into  C^'aeco-Roman  times, 
with  \aried  scenes  ofdailx'  life.  Portraiture  becomes  commoner  in 
the  later  centuries;  but  it  is  not  eas_\'  to  assign  dates  to  work  so 
coarse  as  this. 

1 3()7.      ToMBSTONii  or  a  ^'oing  ALan,  in  short  sleexed  tunic  and  Wall 

cloak:    he  holds  a  whip  in  his  left   hand,    and  o\er    his  left  ^f^^ 
shoulder  appear  the  head  and  neck  of  his  horse.        LI.  4  ft. 
3i  in.                                                                          1,  cxxx\iii,  1031. 

1  50'S.     Tomb'-tonl  or  a  Ijo^i,  in  slee\ed  Iimic;  he  feeds  a  bird  which  Wall 

lie  holds  in  his  left  hand.  H.  2  ft.   10  in.  Doell,  xii,  (S,  Case 

7S1.  L  cxwi,  919.  '' 

I  59().  loMBS'iONL.  01  A  W'o.MAN,  Seated  with  folded  hands;  she 
wears  a  Doric  tunic,  with  ox'erfold  and  bell,  antl  a  cloak 
lirawn  o\er  head  and  knees,  as  in  \>,^\,  1405.  1  here  is  red 
colour  on  the  dress.  11.  3  ft.  3s  in-  1,  cxx\i,  ()iS. 

1400.  ToMB^ioNi-  <>]  A  Woman,  seated  ill  a  car\ed  chair;  she  Wall 
uears  tunic  and  iiKiiille,  and  holds  three  apjiles  in  her  lap,  Case 
like  a   votar\  :  compare   1104,    iii)6.    n<)>>.  II,  4  ft.  S[   in. 

I,  cxxviii,  922. 
243 


IHH    COl.l.lXn  ION    OF    SCLLI'l  LRI-; 

Wall    14(11.     To.MBsidNh    with    two   panels,    below   a    palniette:   in    the 
Case  upper  is  a  banquet  seene  of  two  bearded  men;  in  the  lower,  a 

Ol 

bearded  man  leans  on  a  stall  and  grasps  the  hand  ot  a  woman 
on  his  left.  The  slab  is  broken  awa\'  at  the  waist  of  these 
figures.  H.  4  ft.    i    in.  1,  exli,  10^3. 

Wall    '4'^--      IOmbsionh  or  a  Yoinc  .Man,  wearing  tunic  and  wreath, 

Case  who  lies  on  a  eoueh,  holding  the  hand  of  another  \'outh  who  sits 

full-face  on  its  lower  end.      In   front  is  a   tripod    table,  with 

bread  and  some  fruit.  H.  3  ft.  'i  in.  1,  cxii,  1054. 

W^ll    140^.      loMBSioNh  wi  1 11  A  Fa.mii.v  CjRori'.      I'our  figures  are  seated 
Case  full-face.     On  the  spectator's  right  is  an  elderh'  man,  holding 

^  a  drinking  bowl,  and  grasping  the  hand  of  a  woman  in  folded 

tunic  with  belt,  and  cloak  drawn  o\er  the  head  and  knees  as 
in  \V)C):  bexond  her  is  their  son,  who  la\s  his  left  hand  on  her 
shoulder,  and  grasps  with  his  right  the  hand  of  a  fourth  figure, 
apparenth'  in  male  costume,  though  of  feminine  features: 
probabl\'  a  \ounger  son.      H.  4  ft.  i  i^  in         1,  cxxxviii,  1030. 

LlFt-SIZE    STATLhS   OF    HHLLHMSTIC    sT'lLH 

In  Wall-Cases  (14-5  are  life-size  statues  of  Hellenistic  st\le,  prob- 
abh'  from  a  sanctuar\':  1404.  1406-S  repeat  familiar  txpes  of  Nota- 
ries; 1405.  unfortunatel\-  much  damaged,  is  the  onl\'  large  represen- 
tation of  .Aphrodite  in  the  Collection. 

Wall     1404.      Fhmali:  \'otar'>',  lit'e-si/e,  standing  in  tineh'  folded  tunic 

^'^^^  and  a  cloak  which  is  drawn  o\er  the  head  and  held  b\'  the 

t)4  ....  .  .  .  " 

left  hand  m  front  of  the  right  shoulder.      1  he  pose  is  the  same 

as  in   1247-C)  in  Wall-Case  io.  H.  0  ft    3.'   in.         (_;\prus, 

p.  285.  I ,  cx\  iii,  S5  s- 

1405.  .Aphroidith,  life-size,  standing  with  right  knee  slighth'  in 
adxance.  She  wears  a  high  polos  with  palmetle  ornament, 
interspersed  with  nude  figures  of  the  old  .Astarte  t>pe,  like 
those  on  the  sarcophagus  1365.  .A  \eil  falls  behind  to  the 
shoulder,  and  o\er  it  the  hair  hangs  m  loose  tresses  ending 
in  a  single  wa\\'  lock  het'ore  each  shoulder.  The  features 
follow  a  tine  Greek  t\pe,  of  the  third  centur\'.  and  should 
be  compared  with  the  young  male  heads  mc)-2i  in  I'loor- 
(^ase  X\'.  .\round  the  neck  is  a  collar  of  o\al  pendants. 
The  dress  is  a  Doric  chiton,  with  o\erfold  raised  in  the  centre 
to  show  the  belt;  on  each  upper  arm  it  is  fastened  with  four 
round  brooches,  and  has  an  elaborate  border,  painted  red.  .A 
244 


TOMBSTONhS    AND    STHLAH,    WTIH    RHLIHFS 

hoa\\-  fold  of  the  wil   passes  forward  under  the  right  arm,    \\all 
across   the  bod\',   and   o\er  the  left   forearm,   where  it   is  en-    '^-'^se 
twined  with  the  other  end  of  the  \eil   falling  from  the  left      "* 
shoulder.     The  right  arm  was  extended  at  the  elbow,  but  is 
broken   awaw     The  left,   also  broken,   wears  a   hea\y  spiral 
bracelet.     On  the  left  wrist  stands  the  left  foot  of  a  winged 
F.ros.  who  ho\ers  against   the  left   shoulder  of  the  Goddess. 
His  wings  are  raised  as  if  he  were  fl>ing,  but  his  left  leg  is 
bent  to  kneel.      His  left  arm  seems  to  ha\e  been  extended  in 
front  of  the  Goddess,  but  is  broken  awa\',  tcjgether  with  his 
head  and  left   wing.      The  Goddess,   too,   is  broken  awa>'  at 
the  knees.         .About  ^00-200  B.  C.  H    4  ft.  if  in.         (2\'- 

prus,  p.  io().  1,  c\'ii,  695. 

1406.  ^'oLNG  .Mai.h  \'()\.\ry,  life-size,  standing  with  right  knee 
in  ad\ance.  The  head  is  separate,  but  certainl\'  belongs  to 
the  bodw  On  the  forehead  is  a  single  row  of  large  curls, 
beneath  a  wreath  of  leaxes  and  berries.  The  close-cut  beard 
and  moustache  are  rendered  b\'  rough  mechanical  tooling. 
The  features  are  in  a  late  st\le,  broad  and  simple.  0\er  the 
usual  loose  tunic,  with  sleeve-holes  at  the  elbow,  is  a  heavy 
cloak  worn  in  Greek  fashion  in  thick  folds  round  the  waist. 
The  right  hand  hangs  loosel\'  and  holds  a  spra\'  of  lea\'es;  in 
the  left  is  an  incense-box.  The  feet  are  broken  awaw  .About 
100  B.  (I. —  100  .A.  1).  H.    5    ft.    4'J    in.  Doell,    \i,   4, 

123.     (]\prus,  p.  iC)().  1,  cxxxii,  ()2i. 

1407-S.      BhAKDhD  \'()'iARihs,  life-size,  standing  in  the  usual  tunic    \\-.,i| 
and  cloak,  in  stilf  folds.     (Jn  the  heads  are  wreaths  of  lea\es,    Gase 
tlowers,  and  berries.      The  hair  and  beard  are  quite  con\en-      5 
tionall\-  rendered,  and  the  features  are  hea\  \  and  expressionless, 
with   prominent   cheeks  and   flat   e\es.       1  he  head  of   140!-!  is 
separate,  but  certainlx'  belongs  to  the  boiix  .     On  the  feet  are 
loose  shoes  clas[K'<.l  on  the  instep.       The  feet  nf  1407  are  modern. 
I  he  attributes  of  1407  are  a  birti  ami  mc(.'nse-box;  of  140S  a 
lilxition    bowl    liki'    \\^()--j,    an    incense-box,    and    a    spra\    of 
lea\es.      Both   figures  show  well   the  Decadent  (Cypriote  st\le 
jiassing  on   into  a   lifeless  cnnxention   hir  sanctuarx    sculpture 
(>nl\  About   ^so--!0()  B.  G.       lis.  s  ft.  4,'  in.,      s  ft.  10.',   in. 

Doell,  i\-,  (),  So;  ( lolonna-C  A'ccaldi,    1*1.   i\\    3;(Aj")rus.  p.    14() 
(1407):  Doell,   V,   11,    Si;      G\prus,    p.    isi    (140S). 

1,  lx\iii.  4S  y,  lxi\-,  430. 

24s 


TH1-:    COLLICI  ION    (^1-    SC.T  LPTIRI-: 
Rl-.LILIS.   TOMliSIOMS,   AM)    V()TI\H   Sll.LAI-. 

Wall    '"  \\  all-(^ases  OCi-jj  on  ihc  West  Wall  of  llu'  Annex,  arc  funcrar> 
C-ase    and  \()ti\c  stelae,  of  the  earlier  st\les,  and  a  tragmenlar\'  figure 
'*    of   Herakles   the   Archer,   which   should    be   Lomp")ared   with   other 
figures  of  Herakles  in  Wall-Clases  ^y-S. 

140().     SiATi  1-.  or  AN  Akc.hi-k.  near!\  life-size,  in  .Xrchaie  C\priote 
st\  le.  probablx"  mtended  to  represent  Herakles.      He  is  repre- 


1409 

sented  kneeling,  as  was  usual  in  earl_\-  times  throughout 
Mediterranean  lands:  compare  the  cla\-  figure  2102  in  the 
Collection  of  Terracottas:  it  was  onl>  in  ( -Viental  lands,  where 
the  weak  long-bow  was  used,  that  bowmen  shot  standing. 
He  Wears   a   short   close-fitting  tunic,   which   tails   round   hi'^ 

246 


rOMBSTONHS    AND    STELAE,    WITH     RELIEFS 

thigh  in  stiff  folds  and  broad  shallow  surfaces.  A  bow  case  Wall 
and  a  broad  flat  c^uivcr  containing  nine  arrows,  hang  from  a  ^^^^ 
triple  belt  on  his  left  shoulder.  The  left  arm  was  extended 
to  hold  the  bow,  but  is  broken  away.  Beneath  the  quiver 
appears  a  short  leaf-shaped  sword,  in  a  sheath  which  ends  in 
a  knob.  Head,  arms,  and  feet  are  broken  awa\',  and  the 
whole  right  side  of  the  figure  has  been  split  off:  it  is,  therefore, 
uncertain  whether  it  was  carved  in  relief,  or  in  the  round,  as 
seems  more  probable.  About  550-500  B.  C.  H.  2  ft.  32  in. 
Doell,  vii,  10,  190.     C\prus,  p.  155.  1,  cxxviii,  923. 

1410-13.     To.MBSTONHS    WITH    SpHiNXhs  of    \arious    periods  and    Wall 
st)  les.     Like  the  Tombstones  with  Lions  1383-93  in  Wall-Cases    7'c^^P 
52-6,  the}'  consist  of  an  upright  rectangular  shaft  or  slab  (stele)    68* 
surnK)unted  by  a  moulded  cornice;  abo\e  this,  one  or  more 
sphinxes  are  carxed  in  the  same  block  of  stone.     Sometimes 
there  is  fresco  painting,  or  a  recessed  panel,  or  a  device  in 
relief  on  the  front  of  the  stele.     As  a  funerar\'  s\'mbol,  the 
significance  of  the  Sphinx  is  uncertain.     Not  improbably  it 
was  confused  with  the  Harp\'  (iO(S()-9)  which  carries  away  the 
souls  (jf  the  dead,  as  on  the  well-known  Harp\'  Tomb  in  L\'cia. 
.As  a  sxmbol  of  the  Goddess  of  Idalion,  il  placed  the  deceased 
in  her  keeping,  like  the  crescent-and-disc,  which  is  associated 
in  1410.    These  sphinxes  differ  in  st\le  and  date,  and  serve  to 
illustrate  the  de\elopment  of  the  t>pe. 

1410,  in  .Mixed  Oriental  stxle,  has  two  sphinxes  back  to  back: 
their  bodies  and  paws  resemble  those  of  the  earliest  recumbent 
lions  (i3M9-()o  in  Wall-Case  55);  their  wings  are  leaf-shaped 
and  cjuite  smooth,  and  were  prohablx'  painted,  though  no 
trace  of  colour  remains.  Both  heads,  and  the  lower  part  of 
the  stele,  are  broken  awaw  (Jn  the  front  is  a  sc]uare  recessed 
panel,  and  abo\e  it  ihr  crescent-and-disc  sxnibol,  in  low  relief. 
About  ()Oo-5  50  B,  C.  H.  ift.4in.      L.  i  ft.  9^  in.  Doell, 

xiii,  22,  <S25.  I,  xvii,  24. 

141  I,  in  Archaic  (Apriote  sl\le,  has  two  sphinxes  posed  as  in 
1410;  but  the  wings  are  of  the  Wi'Stern  scrolled  t\-pe.  The 
he:ids  turn  full-face,  and  show  well-modelled  features,  with 
hea\\'  hiiir  on  the  brow  under  a  narrow  frontlet:  compare  the 
sphinxes  on  the  co\  er  of  the  sarcophagus  1  5(15  in  (^entre-(^ase 
I-..  II.  I  ft.  1;  in.      W.  I  ft.  10  in.  Doell,  xiii,  22,  S24; 

C\  prus,  p.  I  10.  1,  civ,  680. 

247 


nil-;    C.OLLHCTION    OI     SCULPllKH 

}^-'"  141-^,  in   Mature  (;\pri()tc  st\le,  has  the  two  sphinxes  seated 

Ciisc  ... 

(■^.,  lacing  inwards,  on  the  hasal  scrolls  ol'  a  palmette  which  the\' 

support  with  a  forefoot.  i'he  wings  are  of  the  Greek  natural- 
istic t\pe  with  the  feathers  directed  backwards.  About 
500-450  B.  C.  H.  I  ft.  (){  in.     W.  2  ft.  2]  in.       I,  civ,  679. 

Wall  1413  has  the  sphinxes  seated  back  to  back  as  on  1410-11,  on 

*-^'y^  a  cornice  with  egg-and-dart  moulding,  from  which  rise  three 

palmette  acroteria.  1  he\-  wear  a  wreath  of  leaves,  and  collar 
of  long  pendants;  and  the  hair  falls  round  the  face  and  neck  in 
hea\\'  waxes.  I'he  wings  are  of  the  later  articulated  t\pe 
and  spring  directlx'  from  the  shoulders.  On  the  front  of  the 
stele  is  sculptured  a  sash  in  low  relief,  knotted  in  long  ends, 
and  painted  red:  and  there  is  much  red  colour  on  the  cornice 
and   sphinxes.         .About   450-400   B.   C  H.   2    ft.    lo]    in. 

W.  2  ft.  3  in.         Perrot,  tig.  151  I,  cxxvi,  c)2o. 

Wall    1414      Sthlf-;   with   Head  of  the   Ec'ipti.an  Goddess,  Hathor, 

Case  deeph'  sunk  within  her  conxentional  scrolled  head-dress,  which 

^^  is   rendered  in  low  relief.     The  customarx'  pectoral  collar  is 

mereh'  incised  on  the  surface  of  the  block.         About  600-550 

B.  C  H.  2  ft.  lo.l  in.  1,  wiil,  27. 

1415.  Stele  with  X'olites,  of  rude  and  blundered  design.  1  he 
lower  part  is  broken  awa\'.  Abo\e  a  winged  disc,  much 
defaced,  rise  two  pairs  of  xolutes,  with  lotos  (lowers  between. 
The  outer  member  of  each  xolute  is  cut  to  represent  leaves, 
and  other  foliage  appears  bexond  them.  Between  the  upper 
pair  is  a  human  head,  derixed  from  the  Hathor-txpe,  but 
influenced  bx'  the  (jreek  Medusa.  Aboxe  is  a  cornice  of  three 
plain  members.  This  is  probablx-  a  blundered  copx'  of  the 
earlier  stelae  xvith  Gxpriote  xolutes  i4i(S-2().  .About  400-3 so 
B.C.  H.   1   ft.   11',  in.      W.  1   ft.  Doell,    xiii,    21,   828. 

1,  xxiii.,  26 
Wall-Cases  70-72  show  a  peculiarlxCApriote  txpe  of  monument. well 
represented  in  the  great  sanctuarx'  at  Idalion,  and  also  cmploxed 
for  tombstones.  The  stele  consists  of  a  broad  flat  slab,  narroxving 
upxvards  a  little,  and  surmounted  bx'  a  xvide  flat  capital,  carved  in 
loxv  relief  xvith  a  design  based  upon  the  conxentional  lotos  or  iris 
tloxver  xvith  large  lateral  scrolls  or  xolutes,  and  upright  standards 
between  them.  The  latter  are  often  transformed  into  smaller 
lotos  flowers  or  sacred  trees,  and  enriched  xvith  sphinxes  or 
Hathor-heads  like    14 14.      .At  Idalion  the  lotos  flower,  from  which 

248 


^^^•Jf^tiitjf^-Jhiif'i 


4^i 


■•'"---—iCZ 


1413 


14  IS 


1HI-;  coi.i.i-xri  ION  oi    sclliti  Kii 


this  design  is  doNelopcd,  constanllx  appears  en  the  coins  (British 
Museum  ("oin  C^.atalogue,  (",\  prus,  PI.  \'),  and  in  the  hands  of 
the  Cioddess  and  of  her  Notaries.  Similar  designs,  based  on  this 
C^\priote  flower  with  xolutes  and  standards,  are  popular  also  on 
the  painted  potter\'  oi  liie  Ciraeeo-l^hoenician  .Age  663-702  in  Wall- 
Ceases  U)-20,  and  Floor-Case  \'l.  The  lop  of  the  stele  is  usuall\' 
flat,  with  a  simple  moulded  eorniee  in  the  same  low  relief  as  the 
design;  but  it  does  not  seem  to  have  been  adapted  to  earrx'  any 
other  object.  The  sides  are  cut  in  a  simple  profile,  without  orna- 
ment, and  the  back  is  unworked.  These  stelae,  therefore,  were 
designed  to  be  set  against  a  wall,  or  to  form  an  a\  enue,  where  onl\' 
their  fronts  would  be  seen. 

1416-20  X'orivi-;  Stelah  with  Lotos  CAPirALS  of  various  dates  and 
stxles.  The  original  t\pe  is  best  shown  b\  1418-20;  the  rest 
are  later  or  imperfect. 

1416  shows  onl\'  part  of  the  shaft,  with  cresccnt-and-disc  in 
high  relief,  and  a  painted  red  sash,  with  long  knotted  ends, 
as  on  141  3.  H.  1  ft.  H'l  in.     W.  1  ft.  4  in.  I,  .wii,  25. 

1417  has  the  volutes  broken  awa\';  the  space  between  them 
is  tilled  b\'  a  sacred  tree  design  with  lotos  flowers.  abo\e  an 
Ionic  column,  with  (Cypriote  volutes.  .Among  the  lotos  stems 
stand  two  sphinxes,  facing  inwards,  and  supporting  the  sacred 
tree.  Thex'  wear  a  high  crown  of  lea\es,  and  ha\e  archaic 
scrolled  wings,  as  on  1410-11.  The  cornice  has  three  plain 
members;  the  bacfground  of  the  design  is  coloured  red. 
About  500-450  B.  C     H.  2  ft.  if  in.     W.  2  ft.  1  i  in.     1,  c,  ()72. 

14 18  has  the  volutes  \er\'  prominent;  the  triangular  space 
formed  b\'  their  intersection  contains  an  arrow-shaped  orna- 
ment. .Above  them  pairs  of  con\erging  scrolls  enclose  a 
sacred  tree,  supported  b\'  a  pair  of  sphinxes  with  archaic 
wings.  The  cornice  has  three  plain  members,  with  a  small 
palmette  under  each  end.  The  lower  part  of  the  shaft  is 
missing  and  has  been  restored.  .About  550-500  B.  C.  H.  4 
ft.  63  in.      W.  2  ft.  8  in.      Perrot,  hg.  152;      C\prus,  p.  117. 

I,  xcix,  ()7i . 

1419  has  the  central  triangle  replaced  hv  a  palmette.  behind 
which  rises  the  sacred  tree,  with  lotos  flowers:  in  the  centre 
of  the  tree  appears  a  Hathor-head  with  hea\\'  head-dress,  abo\  e 
a  Hat  CN'lindrical  object  which  ma\-  represent  a  heavy-  necklace. 


Wall 
(^ase 
()9 


Wall 


Wall 
C^asc 


Wall 
C^ase 


250 


72 


TOMBSTONES    AND    STELAE,    WITH    RELIEFS 

The  ccjrnice  has  ihrce  plain  members.     The  volutes  are  broken    Wall 
awa\'.         About  550-500  B.  C.  1,  xxii,  51.    ^^-^ 

1420  has  the  \olutes  large,  flat,  and  irregularly  carved;  be- 
neath each  issues  a  lotos  flower,  and  between  them  a  crescent- 
and-disc,  below  a  lotos  bud,  fills  the  triangular  space  formed 
b}'  their  intersection.  Above  this  central  triangle  the  stan- 
dards are  replaced  b\'  a  sacred  tree  with  lotos  flowers,  among 
which  appears  a  pair  of  sphinxes  with  archaic  wings.  The 
cornice  has  four  plain  members.  About  550-500  B.  C. 
H.  I  ft.  6  in.  W.  2  ft.  6|  in.  Perrot,  fig.  361;  Cvprus,  p. 
1 17.  1.  c,  673. 


251 


THK  COLLI- CI  ION 

OF  TLRRACOTl  A  HLADS 

AND  OTHLR  PARTS  OF  LARGF 

CLAY  FIGURES 


THE  COLLECTION  OE  TERRACOTLA  HEADS 

AND  OTHER  PARTS  OE  LARGE 

CLAY   EIGURES 

IN  C\'prus,  as  in  Sicil\'  and  in  Southern  Italy,  whicli  are  likewise 
devoid  of  marble,  cla\'  had  an  importance  which  it  never  attained 
in  Greece  as  an  alternative  to  stone.     At  some  sanctuaries,  as  at 
Tamassos  and  Salamis,  it  seems  e\en  to  have  been  preferred,  and 
was  used  for  statues  of  life-size  and  more,  which  were  both  carefully 
modelled  and  richly  painted   in   black  and   red   and    occasionally 
in  other  colours,  like  the  contcmporar}'  vases. 

In  Floor-Case  X  are  collected  a  number  of  these  large  heads  from 
figures  modelled  in  cla\',  which  illustrate  points  of  st\'le  and  work- 
manship in  the  series  of  sculptured  heads  in  Floor-Cases  XI-XVII. 
With  these  are  grouped  for  c(jn\'enience  a  few  other  clay  figures 
of  larger  size  or  greater  artistic  importance  than  those  in  the 
Collection   of    Ferracottas. 


Floor 
Case 
X 


1451 

l-.AKI.Y    IKON    AGh    WrilKJUI     ORIENTAL    INFLUENCE 

14s  I.  BiiARDi-D  llhADof  a  barbaric  stvle  which  is  represented  in 
several  sancluarii-s.  It  is  modelled  \\holl\'  by  hand,  without 
trace  of  an\'  mould.      The  fea:  ures  are  grotestjuel}'  exaggerated, 


im;  coi.iici  ION  oi    iiiRRAcori  a  iiiiads 


Floor 

Case 

X 


like  lliDSc  of  the  small  "snow-man"  figures  2020  f]'.  in  the 
Clolleetion  of  lerraeotlas,  and  are  emphasizeil  with  heavy 
strokes  of  blaek  paint.  The  hea\\-  ring  of  elax'  about  the  head 
probablx-  represents  a  frontlet  such  as  is  worn  b\-  the  stone 
heads  12SI-5  in  l-"loor-('.asc  XI.  H.4li]  in.  11,  255. 
4^2.  lli-.i.MhTt:i)  ill- vn,  beardless  but  probabl\-  male;  it  is  modelled 
wholl\'  b\-  hand.     The  helmet  is  of  the  same  soft-peaked  t\pe 

with  side-flaps  as  is  worn  by  1257 
ty.  in  bloor-Case  XI.  There  are 
double  earrings  in  each  ear,  prob- 
abl\-  intended  to  represent  the 
spiral  t\'pe;  and  the  hair  falls  low 
;)n  the  neck  behind.  The  eyes 
arc  prominent  and  \i\acious,  and 
the  nose  and  chin  ver\'  pointed. 
There  is  red  paint  on  the  helmet 
to  represent  the  bronze  rim;  red 
also  on  the  lips;  and  black  on  the 
eyes,  cxclids,  and  e}cbrows.  This 
head  probably  belongs  to  the  end 
of  the  eighth  century  and  repre- 
sents the  higher  level  of  clay 
modelling  in  C\prus  about  the 
time  of  the  first  introduction  of  Oriental  motives.  H.  7.4  in. 
147 ^  Hhlmhtho  H[-:ad,  \er\-  roughlx'  modelled,  with  eyes  set 
rather  obliquel\-  beneath  hea\il\-  feathered  e\-ebrows.  The 
helmet  has  the  usual  soft  peak  and  the  side-flaps  are  tied  to- 
gether below  it,  with  long  tasseled  ends  which  fall  behind. 
In  the  left  ear  is  a  large  spiral  earring;  the  right  is  missing. 
Though  Oriental  influence  is  clearl\-  perceptible  in  the  modell- 
ing, the  st\le  is  essentiall\-  the  same  as  in  143 1-2.  II,  256. 

i'HRIOl)    Ol-    ORIl-.Nr.M,    INFLUbNCES 

1434.  Bi;ardli:ss  Hiad  with  the  same  rosette  frontlet  as  1231-5. 
and  hair  rendered  in  short  locks  b\'  means  of  an  engra\ed 
;4amp.  The  e\ebrows  are  in  relief  and  fi-athered,  and  the 
ex'elids  are  shown  b\-  incised  lines;  in  tlie  left  ear  is  a  double 
s[iral  earring,  missing  in  the  right.  The  prominent  nose, 
small  mouth,  short  broad  I'ace,  and  hea\\'  mass  of  hair  behind 
the  neck  are  characteristic  marks  of  an  Ass\Tian  model. 
Doell,  x\-,  18,  1070.  H.  7I  in.  II,  299. 

2  so 


1452 


PHRIOD    OF    ORIENTAL    INFLUENCES 

[455.  Beardless  Head  in  rather  more  developed  style  than  1454.  Floor 
The  hair  is  rendered  by  a  stamp  with  the  same  concentric-  v'^^^ 
tangent  ornament  as  is  painted  on  the  vases  643-5  'n  Wall- 
Casj  ig.  Behind  the  ears,  ho\\'e\'er,  large  coils  of  hair  are 
rendered  in  free  modelling.  The  cla\'  is  red,  but  there  are 
traces  of  a  chalky  white  slip,  and  of  coloured  details  now 
almost  wholl\-  defaced.         H.  5-2  in.  II,  127. 

1456.  Helmeted  Head,  beardless,  but  probably  male.  The 
helmet  and  other  details  are  of  customary  t}pe,  but  the  e\'cs 
are  of  Eg\ptian  form,  and  the  nose  though  prominent  is 
rounded  at  the  tip.  There  is  red  paint  on  the  lips,  and  a 
lighter  tint  of  red  all  over  the  face.  E\'es,  eyebrows,  and 
helmet-band  are  in  black.  This  is  an  exceptionally  fine  ex- 
ample of  the  Mixed  Oriental  st\'le  and  closely  resembles  the 
heads  from  the  Toumba  site  at  Salamis.         H.  81 0  in.   H,  115. 


*»■'».' 


143G 


1457 


1457.  Bi-.AKDHD  Head  in  the  usual  helmet,  nearl\-  life-size,  in 
Oriental  sl\le,  like  1456.  The  ewbrows  and  beard  are  feathered 
and  the  moustache  is  rendered  b\'  rows  of  small  impressed 
dots.  The  face  has  the  same  colouring  as  1456,  but  the 
helmet  has  black  and  red  bands  on  the  side-flaps,  and  other 
traces  of  colour.  II.    11',   in.  II,  116. 

ARCHAIC  cvi'Kiorr,  sTYi.i-: 
i45iS-(j.      Bi-.AKi)Li;SS   Hi^ADs  With   liair  curling  beUnv  a  wreath  of 


2, 


■)! 


iiii;  coLi.ixnioN  of  terracotta  hhads 


Floor 

Case 

X 


lea\os.  In  14,^  black  colour  is  prescr\ed  in  the  hair,  e\ebrows, 
e\clids,  and  e\cs,  and  red  on  the  lips;  the  modelling  is  delicate 
thouiih  rather  shallow.  The  back  of  1459  is  covered  b\-  a 
hea\\-  \eil,  and  it  nia\  be  intended  to  be  female;  the  features 
are  \igorousl\-  modelled,  lioth  recall  Greek  work  of  the 
late  sixth  centurw  Hs.  yf  in.,  84  in.  II,  479  (1459). 


1459 

1460.  \'()7i\H  Mask  tor  suspension,  like  21^3-7  in  the  Collection 
of  Terracottas,  it  represents  a  female  head  with  heav\-  \eil, 
inspired  b\'  a  common  Greek  t\'pe  of  the  late  sixth  centur\-. 
and  perhaps  made  in  a  mould.  There  is  black  paint  on  the 
e\es  and  hair,  and  red  on  the  frontlet  or  the  edge  of  the  \eil. 
H.  5l  in. 

HBLLENIC    AND    HELLENISTIC    ST">LES 

1461.  Beardless  Head  in  good  Greek  work  of  the  earl\-  fourth 
centur\-.  .As  it  is  executed  in  the  same  light  cla\'  as  the  earlier 
figures,  it  ma\'  be  regarded  as  (]\4")riote  work,  in  spite  of  its 
fine  Greek  st\'le.  It  may  belong  to  the  fabric  of  Kition  (pp.  351. 
354).         H.  (i\',',  in.         C^.\prus,  p.  60. 

1462.  Young  .Male  Head  in  a  late  Cjreek  st\le,  with  loose  waxing 
hair.  It  is  remarkable  for  the  good  preser\ation  of  its  chalky 
surface-co\-ering,  which  shows  the  light  red  tint  of  the  face, 
with  darker  red  on  lips  and  ears,  black  on  e\es  and  exebrows, 
and  hair  painted  with  a  mixture  of  black  and  the  light  red 
paint  of  the  face.  H.  5  in.  11,  494  (1462). 

258 


HELLENIC    AND    HELLENISTIC    SLYLES 

1463.  Thmplh-Bov  in  the  same  posture,  tunic,  and  heavy  necklace  Floor 
of  pendants,  as  the  stone  tempIe-bo)-s  1204-22  in  Wall-Cases  v'^^^ 
45-6  and  the  smaller  ones  in  cla\'  2291-5  '■''  the  Collection  of 
Terracottas.  The  head  is  in  the  same  style  as  1464.  The 
cla\'  is  brown,  with  chalky  slip,  left  white  for  the  tunic,  with 
red  paint  for  the  flesh  parts,  white  e}'eballs,  and  iris  in  brown. 
H.  1 3s  in.  II,  297. 


1464.  Bhardli^ss  Hhad  with  close-cut  hair  indicated  only  by 
incised  lines,  and  strongly  marked  features.  The  chalky  slip 
shows  pink  face-colour  and  black  on  e_\es  and  lips.  The 
stx'le  is  late  (keek,  but  shows  the  inlluence  of  Egx'ptian  tech- 
nique, and  probabl}-  is  Ptolemaic  work  of  the  third  century. 
It  ma\-  be  intended  as  a  portrait,  and  ma>-  belong  to  a  temple- 
bo\'  like  I4<')3.  H.  6^  in. 

1465-7.  lii.AKDi.i-.ss  Hi-.ADS  like  1464,  but  poor- 
er and  perhaps  later  work.  The\-  probabl}' 
belong  to  temple-b<)\s  like  1463.  Us.  5! 
in.,  ']\  in.,  7^;  in  II,  549  (1465)- 

1468.  Fi:MALi-;  Hi-.AD,  nearl\-  !ife-sl/e,  wear- 
ing a  pointed  frontlet,  circular  earrings 
with  pendants,  and  triple  necklace.  I  he 
feature's  are  of  a  fine  late  IK'llenic 
t\-pe,  but  the  hair  is  still  renck-red  with 
spiral  stamps,  like  those  of  the  earl\-  terracottas, 
clay  is  dark  red,  with  traces  of  a  chalky  white  slip.  Simi- 
259 


THE    COLLHCIION    Ol     THRRACOTTA    HFADS 


Floor 

Case 

\ 


lar  heads   ha\c  bocn    fouiui   at    I.imniti,   on   the  north  coast, 
between    Soli    and    .Marion-Arsinoe.  H.    13I    in.  Doeli, 

x\,  17,  1052.  1 1,  486. 

1460.  BiiAKDi-D  HhAD,  nearl\-  life-size,  in  \er\-  late  Greek  stvle. 
A  wreath  of  leaxes  is  modelled  on  the  head,  but  the  hair,  mous- 
tache, and  beard  are  rendered  in  spiral  stamps,  as  in  1468. 
The  cla\'  is  light-coloured,  with  traces  of  a  white  slip. 
H. i-l  in. 


■475 


1470.  Bhardf.d  HEAt:>  of  a  \oung  man,  in  the  same  stvle  and 
cla\'  as  I4(k).  but  the  hair  and  beard  are  freel\-  rendered  in 
incised  lines.  H.  I3.jin.  11,484. 

1471.  Head  of  a  Bov  in  good  Greek  st\le,  in  the  same  red  cla\ 
as  1468,  with  white  slip,  and  black  on  e\es  and  hair. 
H.  5  8  in- 

1472.  Head  of  an  Infant,  probablx-  intended  for  Eros,  in  the 
same  red  cla\'  as  1471.  H.  5  in. 

1473.  Beardless  .Male  Head  in  late  Hellenistic  st\le,  coarselx' 
rendered  in  a  Hght  cla\'  like  1460,  with  pink  face-colour,  while 
ex'eballs,  black  e\es  and  hair,  and  red  lips.  H.  5 !  ,',  in. 

1474.  Bi-.ARiMiD  Head  in  a  rude  imitation  of  the  .\li.\ed  Oriental 
st\'le.  It  ma\'  be  contemporar\'  or  ma\'  be  inexpert  work  of 
late  date.  The  hair  and  bearei  are  renderi-d  with  tough 
spiral  stamps,  and  the  ears  perforated  to  hold  metallic  earrings. 
The  cla\'  is  reddish,  with  chalk\'  slip,  greenish  through  under- 
firing,  and  black  colour  on  e3es  and  hair.  H.  ()\ ;:  in.  Doell. 
XV,  12,  994.  1 1,  2SS. 

260 


HELLENIC    AND    HELLENISTIC    STYLES 

1475.  Head  of  an  Orihntal  Votary  in  Phrygian  cap  like  the 
stone  figures  1231  in  Wall-Case  48  and  1350  in  Floor-Case 
X\'II,  and  2299-2301  in  the  Collection  of  Terracottas.  H.  5I  in. 

(JIHHR    FRACiMHNTS    OF    LARCH    STA'lUhS 

1476.  HtAD  OF  A  Bl  LL  in  .\rchaic  C~\priote  st\ie,\vith  eves  model- 
led in  relief,  and  hair  rendered  by  incised  lines.  It  ma\'  be 
N'otive,  or  perhaps  an  attribute  of  a  large  human  \'olarv. 
H.  7i  in.  II,  678. 

1477.  Frag.mfnt  of  a  I'f.malh  Iic.lrf  in  Oriental  Sfvlh, 
with  hair  rendered  in  concentric  stamps,  and  rich  necklaces 
in  relief.  H.  4  in. 

1478-84.  FhF.i  OF  Sfaili-.s  in  (jRii-^NrAL  Si'iLh,  Wearing  either 
sandals  or  loose  Oriental  shoes  fastened  with  clasps,  ties,  or 
buttons.  Hs.  5^  in.  —  1 1  in. 

11,  711,  715,  708,  719,  712  (1478-79-80-82-83). 

1485.  RuiHF  Hand  of  a  life-size  statue,  wearing  man\-  hea\\' 
rings.         L.  4I  in.  1 1,  724. 

I48().  Left  Hand  of  a  smaller  statae,  with  traces  of  white  slip 
F.  5  m;  in.  11,  730. 

14.^7.  Fragmeni  of  a  Siaile  in  Okifnial  Si'ii.i:,  part  of  a  richlx' 
embroidered  garment,  rendered  in  high  relief;  showing  part  of 
a  lion  and  part  of  a  warrior  with  pointed  cap,  tight-fitting 
tunic,  and  sword  with  round  pommel.  IF  ()  in. 


Floor 
\ 


261 


THE  COLLECTION  OF 

SMALL  OBJECTS  IN  STONE 

ALABASTER 

AND 

EGYPllAN  GLAZE 


THE  COLLECTION  OF  SMALL  OBJECTS 

IN  STONE,  ALABASTER,  AND 

EGYPTIAN  GLAZE 


T 


HOUGH    there    appears    to    be    no    true  Stone  Age  in    ^^^" 

Cx'prus,  several  kinds  of  stone  were  used  at  all  periods  for    „C 
.  /3 

a  number  of  purposes,  chiefly  for  small  ornamental  toilet 

vessels  and  for  personal  ornament.    From  the  small  amulets 

in  hard  stone   of    Egyptian    fashion    and   probably   of   Eg_\-ptian 

manufacture  it  is  not  possible  to  separate  those,  whether  of  stone 

or  paste,  which  are  decorated  with  the  Egyptian  blue  glaze.     Their 

forms,  uses,  and  age  are  identical,  and  they  are  accordingly  described 

and  exhibited  together  in  the  Collection  of  Ornaments.     But  the 

rare  vases  of  blue-glazed  paste  are  included  in  this  section,  whether 

actually  of  Eg\'ptian  make,  or  of  a  native  fabric  imitated  from  this. 

In  the  Later  Bronze  Age,  and  also  from  the  period  of  Oriental    Wall 

influences  to  the  end  of  the  Graeco-Roman  age,  Eg}-pt  furnished    ^'^^'^ 

also  the  beautifully  banded  alabaster  or  massive  gypsum.     Inferior 

gvpsum  occurs  in  some  parts  of  lowland  Cyprus  as  well,  and  is 

quarried  now  for  plaster.      It  should  be  noted,  however,  that  at 

all  periods  the  Greek  word  for  gvpsum  was  used  quite  vaguely  in 

common  speech  to  denote  ordinary  whitewash  and  limcwash,  as 

well  as  plaster-of-Paris. 

Similarly,    the   common    white   limestone,    such    as   was    used    for    Wall 

sculpture,  occasionally  replaced  gvpsum  and  steatite  as  the  material    '^-'S'-' 

for  t(jilet-boxes,  lamps,  and  rough  vases,  either  domestic,  or  \()li\'e    ' ' 

and  funerary. 

I.       OBJHCTS    OF    STEATITH    AND    OTHER    COLOURIiD 
STONE 

The  soft   steatite,   often    described   as   serpentine,   which    is   most    Wall 
c(jmmonly  employed   in   the   Bronze  Age  and   Early   Iron  Age,   is    *-'s^' 

265 


'nil-;  coi.i.i-cnoN  oi-   small  oijjlicis 

\^''ll  pn)habl\'  natiw,  hut  tlocs  nol  clilTcr  approciabh'  in  qualit\'  from 
" ;_\  the  common  slcalitos  of  Octc  and  of  Asia  Minor —  of  which  the 
cclcbrateti  "meerschaum"  of  (^appadocia  is  simpl\-  a  [Hire  white 
\"ariet\'.  The  ordinary'  steatite  is  dark  gre\'-grcen,  passing  to  brown 
and  black;  it  is  soft  enough  to  be  worked  with  bronze  tools,  or  with 
wet  sand  and  a  wooden  drill  or  rubber.  More  rareh',  selected 
pebbles  of  ihe  gre\'  limestone  which  forms  the  North  Range  of 
Cyprus  (p.  xx\i )  were  used  instead  of  steatite,  for  mace-heads  or  other 
purposes  where  rather  greater  hardness  was  recjuired.  For  mor- 
tars, paint-palettes,  and  other  objects  intended  for  hard  wear- 
and-tear,  tough  cr\'stalline  rocks  such  as  diorite  and  basalt  were 
preferred.  Suitable  rocks  occur  locall)'  in  the  (A'ntral  Range 
of  C\'prus;  and  other  varieties  mav  ha\e  been  tradctl  from  Asia 
.Minor,  or  S\ria,  or,  abo\e  all,  from  Kg\pt,  where  the  art  of  working 
hard  stones  was  brought  to  high  perfection  under  the  Old  Hmpire. 


W 


A.       S.MAI, 1,     OBJECTS     OF    RARI.Y    PHRIODS 

all  With  the  exception  of  the  mace-heads  1501-S,  which  are  confined 
Case  iQ  lYiQ  Bronze  .Age,  and  probabl)'  to  its  middle  period,  these  small 
'  steatite  objects  persist  with  \ery  little  alteration  of  st\le  through 
the  transitional  period  from  the  Bronze  .Age  to  that  of  iron.  They 
are  therefore  exhibited  and  elescribed  as  a  single  group,  and  differ- 
ence of  date  is  noted  onh'  on  the  comparati\el\'  rare  occasions  whert^ 
it  has  been  detinitel\'  ascertained  by  excavation. 

1 501-8.  Macf-Hkads.  'Ihese  are  perforated  balls  of  various 
hard  stones  or  of  steatite,  two  or  three  inches  in  diameter, 
spherical  or  pearshaped  with  surface  smooth  or  polished. 
Ihe  perforation  is  sometimes  effected  from  both  ends  with  a 
solid  wooden  borer,  aided  b\-  sand,  but  in  the  best  examples 
it  is  made  from  one  end  onl\',  with  an  efficient  tubular  drill 
probabl\'  of  reed.  These  balls  occur  in  Bronze  .Age  tombs 
of  the  .Middle  and  perhaps  of  the  Earl\'  period,  y)0()-i  500  B.  C, 
but  disappear  before  the  Later  period  of  .Mx'cenaean  influences. 
Their  purpf)se  is  uncertain.  Ihex'  have  been  described  as 
spindle-whorls  and  also  as  mace-heads;  but  the\'  are  too 
large  for  spinning  anxthing  but  the  coarsest  threads;  and 
in  form  the\-  resemble  closely  the  much  larger  mace-heads 
borne  b\-  the  earliest  Egvptian   Kings.  Ill,cx\-,  i  (1505). 

1500-14.  WmrrsroNHS  or  Polishhrs;  narrow  slips  of  gritt\-  stone, 
often   quite  soft;   usuall}'   perforated   at   one  end.     The\'   are 

266 


STEATITE    AND    OTHER    COLOURED    STONE 

found  occasionally  in   Bronze  Age  tombs  of  the  Middle  and    ^'^^H 

Later  periods,  2000-1200   B.   C,  and  also  in  the  transitional    _, 

.  /3 

tombs  of  the  Early  Iron  Age,  1200-1000  B.  C.         Ls.  3  m. — 


B.       BOWLS,     PLATES,   AND    GRINDERS      OF     HARD    STONE 

These  are  made  of  dioritc,  greenstone,  basalt,  and  other  hard  rocks,    Wall 

and  seem  to  have  been  used  for  grinding  paint,  probably  for  toilet    ^^'^^ 

use.       Manv  of  them   belong  to  the  Early  Iron  Age,  for  in  tombs    ;, 

.     .  Up- 

of  this  period  such  objects  are  common.     But  smiilar  plates  are    p^r 

found  in  Late  Bronze  Age  tombs  also;  and  one,  which  still  bears    part 
traces  of  red  paint,  was  found  on  the  site  of  the  potter's  settle- 
ment at  Kalopsida,  which  belongs  to  the  Middle  Bronze  Age. 

1515-20.  Grinders  or  Pestles  of  conical  form,  sometimes  much 
worn  at  the  broader  end.  They  are  often  found  associated 
with  plates  like  1521  fT.         Hs.  3  i'b  in. —  2^  in. 

Ill,  cxiv,  4  (i  5  17). 

1521-30.  Elat  Plates  or  Palettes,  of  hard  stone,  with  more  or 
less  distinct  rim.  Some  have  also  a  well-marked  foot  or  base- 
ring  on  the  under  side.         Ds.  S]  in. —  5!  in. 

Ill,  cxiv,  7,  6  (1522,  1523). 
1 53 1-7.     Tripod-Plates  or  shallow   bowls  on   three  feet,  of  the 
same  use  and  style  as  1521  if.  Hs.  5I  in. —  i^  in. 

Ill,  cxiv,  9,  8  (1532,  1533). 

C.       MINIATURE    VASES    OE    STEATITE 

The  miniature  vases  of  steatite  and  other  soft  stones,  which  are 
fairly  common  in  tombs  of  the  Late  Bronze  Age  and  Earl}'  and 
.Middle  Iron  Age,  are  ver\-  difficult  to  date  precisel}-  by  their  form 
alone;  for  the  nature  of  the  material  gives  preference  to  simple 
outlines,  and  discourages  experiment  outside  limits  of  safety 
which  were  determined  at  an  earh'  phase  in  the  hislor)'  of  the  in- 
dustry. 

I53(S.  Vase  of  i|uite  black  steatite,  of  a  characteristic  late  M\'- 
cenaean  form,  with  conical  foot  and  shallow,  c>lindrical  bowl, 
with  flat  bottom.  (Compare  the  example  in  alabaster  1O37 
in  \V'all-(^ase  74.  1 1.  2I  in. 

I53().  \'>()\\\.  of  nearl\-  hemispherical  form,  (inel\-  engra\ed  outside 
with    a    basket    pattern.      Probably   of   \  er)'    late    AUcenaean 

2()7 


Wall 
C'.asc 

l'p- 

per 
part 


Tin-;    (.OLLHCTION    OF    SMALL    OBJLCHS 

form,  though  this  basket  pattern  goes  on  into  the  'I  ransitional 
Age,    both    on    stone    objects    and    rarely    on    potter}'. 


iron 
1).  I 


,;  m. 


1540.  Vash  of  dark  green  steatite,  with  two  vertical  handles, 
ovoid  bod\-,  and  cxlindrical  neck  and  base.  It  is  decorated 
with  bands  of  geometrical  ornaments,  and  seems  to  be  modelled 
from  a  bronze  protot\pe.  Under  the  foot  is  a  group  of  three 
linear  s\mbols  'f"^  (see  Appendix),  which  perhaps  belong  to 
an  earlier  stage  \^^^  of  the  sxllabic  script  oi  Cyprus.  The 
vase  probably  belongs  to  the  close  of  the  Late  Bronze  Age. 
H.  5  s  in.  C\  prus,  p.  247. 

1 541.  \'ase  CovhR  decorated  with  the  concentric  circles  char- 
acteristic of  the  Karly  Iron  Age.  This  co\er  was  formerly 
associated  with  the  steatite  amphora  154^,  but  the  material 
is  different,  and  the  decoration  of  the  cover  later  than  the 
st\le  of  the  \ase.  D.  i  1  i!  in. 

1542.  \'ase  of  steatite,  of  conical  form,  with  wide  neck  and 
small,  perforated  string-holes.  The  outside  is  decorated  with 
man\'  parallel  groo\es  which  run  somewhat  oblit]uel\'  down 
the  \ase.  The  form  resembles  Cretan  stone-\ases  of  the 
Middle  .Minoan  .Age,  hut  this  example  may  well  be  .\l)cenaean 
or  even  of  the  Transitional  period  of  the  Early  Iron  Age. 
H.  4  n,  in.  II  I,  cxv,  3. 

1543.  KratiiR-Amphgra,  with  wide  mouth  and  vertical  handles, 
in  gre\-green  steatite.  The  form  resembles  that  of  the  painted 
vases  with  chariot  scenes,  43C-7  in  Floor-Case  111,  and  the 
handles,  with  their  large  ri\eted  attachments,  should  be 
compared  with  the  iM\cenaean  bronze  rim  with  lion-headed 
demons  on  the  handles  (4703  in  the  Bronze  Collection).  The 
form  of  this  krater-amphora  sur\i\es,  however,  into  the  Middle 
period  of  the  Iron  Age.  H.  2!  in.  Ill,  cxv,  5. 

1 544.  Larnax  or  o\al  trough  of  M\'cenaean  t\'pe,  in  green  steatite, 
with  four  small  handles  which  arc  not  perforated.  The  flexible 
outlines  recall  a  basket  original.  It  is  probably  of  the  latest 
.\l\cenaean,  or  the  Earliest  Iron  Age.  H  1  \l.  in. 

Ill,  cxv,  2. 

It45.  Bowi,  with  two  flat  handles.  The  under  side  is  channelled 
to  imitate  a  bronze  bowl.  The  rim  has  a  border  of  olive 
leaves.     Within  the  bowl  is  car\ed,  in  high  relief,  a  figure  of 

268 


1 501 


1540 


1542 


V 


154^ 


1544 


1 5<)()  '34'  '33  5 


nil-:  (.()i.Li;c.ri()N  of  small  oBjncTS 

^^'ili  Isis,  crowned  wilh  Jisc  ami  horns,  riding  upon  a  rouj^h-coated 

"'^^  animal,  perhaps  a  goat.      I  his  is  an  attempt   to  identity  the 

1^  p_  I{g\ptian  goddess  with  the  late  Cireek  conception  of  Aphrodite 

per  l^andemos.      The  bowl  is  c]Liite  late  work,  probabh'  of  Koman 

t^'""^  (.late  and  l-".g\ptian  workmanship.  I).  2^  in. 

Ill,  c.xiv,  I. 

D.        BEADS,     PH.NDANTS,    AND    OTHtR    (JBJbCTS    Ol     STLAIIlh 
AND    AC.ALMAlOLITf- 

Steatite  beads  and  other  personal  ornaments  begin  to  be  common 
in  the  Later  Bronze  .Age.  The  taste  for  them  seems  to  lia\e  been 
introduced,  or  at  all  e\ents  greatl\'  encouraged,  b\'  the  .\l\cenaean 
colonists  who  had  long  been  familiar  in  their  own  homes  with  the 
decorati\e  value  of  the  mineral,  and  in  particular  of  its  harder 
and  lighter-coloured  \ariet\-  agalmatolite,  which  takes  a  high  polish, 
though  it  is  rather  more  difficult  to  work  than  ordinary  steatite. 

1 54(1-7.  Pt-.NDWis  OR  \\'i-.i(,nTs  of  polished  agalmatolite,  of  o\al 
or  conical  form;  1 54()  is  not  perforated  like  ordinary'  jiendants, 
but  furnished  with  a  knob  at  the  upper  end,  round  which 
a  thread  could  be  tied.  The  same  peculiar  little  knob  recurs 
on  some  Hat  ring-shaped  objects  of  the  same  material,  in  iht' 
(^vprus  .Museum.      (C.  M.  C^,  636-7).  Hs.    i  i',i  in.,    i  rV,  in. 

1 54<S.  XhCKi.ACH  oi-  DouBLH-(  J)Nt-.  Bi-ADS  characteristic  of 
the  Late  Bronze  .Age  and  Larliesl  Iron  .\ge  tombs.  Thex' 
disappear  altogether,  with  other  Ahcenaean  siir\i\als,  at 
the  close  of  the  Transitional  period.  Their  torm  is  \er\' 
uniform,  and  their  only  ornament  consists  of  small  concentric 
circles,  engraxed  with  a  drill.  I'hex'  ha\i'  sometimes  been 
mistaken  for  spindle-whorls,  from  their  shape,  which  resembles 
the  double-cone  spindle-whorls  of  cla\-  in  the  Larl\-  Bronze 
Age  (120-2  in  W'alj-C'ase  3);  and  as  alread}'  nt)ted  on  124, 
these  miniature  whorl-shaped  beads  were  themselxes  occa- 
sionallx'  copied  in  claw  But  the\'  are  too  small  to  be  of  use 
in  spinning;  and  the  real  spindle-whorls  found  in  the  Alxcen- 
aean  and  Larh'  Iron  .Age  tombs  are  of  a  c]uite  dilferent  lorm 
(i552-s()).  L.  27  in.  (36  beads,  the  conical  seal  'ormerl\-  with 
them  is  4^71  in  the  collection  of  engraved  stones.)  IILc.\i\-,  3. 

I54C).  Fic.LRi;  OF  A  Lion  in  steatite  or  serpentine,  of  \er\'  rude 
work,  with  the  mane  rendered  b\  cross-hatching.  The  date 
is  quite  uncertain,  but  steatite  went  so  completel}  out  of  use 

270 


STEATITE    AND    OTHER    COLOURED    STONE 

after  the  se\enth  ccntun-  that  the  figure  is  probabl)'    earl)',    ^^'all 

and  therefore  of  some  importance,  in  spite  of  its  damaged  state. 

L.  3f  in-  Up- 

1550-1.      Hlman-headed    Phndants    of   steatite,    representing    a    ^^^ , 

.  ^  part 

negro's  head  (1550)  and  a  bearded  man  ot  Assvrian  type  (1551). 

Similar  heads,   negroid  or  bearded,  are  characteristic  of  the 

later  part  of  the  Middle  Iron  .Age:  compare  the  human-headed 

scarab  (4392)  in  the  Collection  of  Engraved   Stones.     Hs.  ig 

in.,  1  -^  in.  Ill,  cxv,  2  (1550). 

1532-59.  SpiNDLt-WHORLS  of  the  characteristic  Early  Iron  Age 
form,  flat  beneath  with  slightly  convex  upper  side,  and  in- 
cised decoration  of  semicircles  (1552-3),  circles  (1555-6-8),  and 
basketr\'  patterns  (1554).  The  background  of  the  circles  on 
1555-8  is  enriched  with  punctured  dots.  Ds.  i  \l  in. —  i  in. 

1560.  Box-Lid  of  steatite,  or  perhaps  the  flanged  base  of  a  c\iin- 
drical  jar:  it  has  been  perforated  and  used  again  as  a  spindle- 
whorl,  but  its  original  purpose  is  betrayed  by  its  flanged  edge. 
D.  2,'u  in.  Part  of  111,  cxv,  5. 

The  engrax'ed  seal-stones  and  scarabs  of  steatite,  which  are  common 
in  tombs  of  the  (Geometrical  period,  and  the  period  of  Oriental 
Influences,  are  in  the  Collection  of  Engraved  Stones. 


11.        OBJECTS    OF     BLUE    GLAZED     PASTE,     IMITAl  ING 
IHE    EGYPTIAN   GLAZE 

The  objects  of  genuine  Egyptian  glaze  and  glass,  4461  fl".  which  are 
included  in  the  Collection  are  catalogued  below  with  other  small    ^V^" 
Egvptian  objects.     .AH  those  now  to  be  described   are  of  fabrics    _'."' 
whicn  are  known  Irom  other  excavations  to  occur  on  (^priote  sites, 
and  from  their  fabric  to  be  probablx'  of  C\priote  manufacture. 


A.       MIUDI.l-.     BKONZt.     AOl.:     BIADS     AM)    SI'I  N  ULh-WHORLS 

2000- 1 500    H.  C. 

Native  imitations  of  the  \ahu-cl  l-.g\plian  gla/ed  ware  were  first 
iiiade  in  Cyprus  in  the  Alitidle  l)n)n/e  .A'je,  and  continued  t(j  be 
I'roduLt'd  at  all  jx-riods  until  the  I  lellenisl  ic,  with  jK'rhaps  a  brief 
inler\al  in  I  he  Middle  Iron  .Age,  when  (-\prus  was  restricted  to 
its  (A\'n  resources  tor  a  while. 

271 


1HH    C.OLLIiCTION    OF    SMALL    OBJECTS 

^^'ill    1 561.     Si'HHRiCAL    Bhad    of    light    bluc    glaze,    with    very    small 
'i^''  perforation.      This  t\pe  of  bead  is  characteristic  of  the  Xll 

D\nast\'  in  Hgypt  (about  2000-1800  B.  C.)  and  was  imitated 
in  (^\prus  during  the  Middle  Period  of  the  Bronze  Age,  which 
is  accordingly  to  be  regarded  as  approximately  contemporary. 
D.  \  in. 

1562  a,  b,  c.  Sphkrical  BiiADs  of  light  blue  glaze  like  the  pre- 
ceding, but  adorned  with  wide  longitudinal  grooves,  and  fur- 
nished with  a  very  large  perforation.  The  external  form  is 
that  of  a  characteristic  kind  of  XII  Dynasty  bead;  but  the 
large  perforation,  which  is  un-Egyptian,  must  be  regarded  as 
a  local  innovation.  The  type  must  have  persisted  in  Cyprus 
after  it  was  superseded  in  Egypt,  for  similar  beads  have  been 
found  in  Alvcenaean  tombs  which  are  contemporar)'  with 
the   XVI 11    Dynasty,  about    1600-1380    B.    C.  Ds.  \  in., 

\  in.,  I  in. 

1563-,.  Spindlh-Whorls  of  pale  blue  glaze,  repeating  the  conical 
(1565)  and  double-conical  forms  (1563-4)  already  described 
in  the  Red  Polished  Ware  (106-122  in  Wall-Cases  2  and  3). 
They  probably  belong  to  the  same  period  as  these  clay  whorls, 
that  is,  to  the  Middle  Bronze  .\ge.  The  fabric  resembles  that 
of  I  561-2.         Hs.  i^  in.,  \l  in.,  i  i',i  in. 

1566.  I.10N  modelled  roughl)'  in  the  same  pale  blue  glaze  as  the 
preceding,  but  probably  so  ambitious  a  design  belongs  to  the 
Late  Bronze  Age:  1500-1200  B.  C^.         L.  i  1 ,';  in. 

1567.  Counter  or  DRALOHT-PitCH,  a  thick  circular  disc  of  pale 
blue-glazed  clay  or  paste,  with  the  Cypriote  sign  for  ya  incised 
on  the  upper  face  before  glazing,  and  the  sign  for  lo  (or  per- 
haps a  mere  cross)  on  the  edge.     W.  ijin.  Ill,  cxl,  12. 

i5(xS-c)a,  b.  Fracmbnts  of  Vases  of  thick  while  paste  with  a  line 
pale  blue  glaze:  probably  of  the  Later  Bronze  Age,  and  more 
like  Eg>ptian  than  Cypriote  work.     Ls.  i  ^  in.,  \\  '"•.  '2  ''i- 

B.       LATE    BRONZE    AGE:    MYCENAEAN     VASES    IMIIAIING 
EGYPTIAN    GLAZE 

This  rare  and  interesting  fabric  belongs  to  the  Lale  or  .M\cenaean 
Period  of  the  Bronze  Age,  1500-1200  B.  C.  The  only  series  worth)' 
to  be  compared  with  that  now  described  was  obtained  for  the 
British    Museum   from    rich    M\-cenaean   tombs   at    Enkonii   near 

272 


Case 
3 


BLUE    GLAZED    PASTE 

Salamis.  Pale  blue-green  glaze,  simple  geometrical  ornaments,  ^^all 
outlined  in  black  paint,  and  careless  copies  of  Egyptian  scenes  and 
figures  —  more  rarely  of  Mycenaean  motives  —  are  characteristic 
of  the  whole  group.  The  "false-necked"  vase  1572,  and  the  other 
narrow-necked  vessels,  i  570-1,  are  well-known  Mycenaean  forms, 
of  which  examples  in  painted  pottery,  423-8,  are  in  Wall-Case 
12.     With  1572  compare  also  520  in  Wall-Case  14. 

1570.  Narrow-nhcked  Vase,  with  flattened  globular  bod\-,  and 
two  vertical  handles  from  the  rim  to  the  shoulder.  The  shape 
closely  resembles  that  of  Mycenaean  vases  in  the  wall  paintings 
of  Rameses  111,  about  1200  B.  C.  The  decorations  are  all 
in  a  black  paint  which  has  very  slight  lustre.  Around  the 
greatest  diameter  is  a  border  in  black  paint  enclosing  a  wavy 
line,  and  on  the  neck  and  handles  are  other  wavy  lines.  On 
the  shoulder  is  a  band  of  floral  background  of  the  common 
Mycenaean  type,  in  which  are  represented  on  one  side  a  charg- 
ing bull,  and  on  the  other  a  running  deer  or  wild  goat. 
H.  4I  in. 

I  571.  Narrow-necked  Vase  of  similar  form,  but  the  neck  and 
handles  are  broken.     On   the  shoulder  is  drawn   a  series  of 


1374 


panels  enclosing  semicircular  floral  designs  peculiar  to  the 
latest  Mycenaean  st\ie:  compare  457  in  Floor-C^ase  111. 
II.  2\  in.         Cyprus,  p.  102.  Ill,  cix,  i. 

1372.  I'alsh-nhckhi)  Vase  of  degenerate  t}'pc  without  handles: 
the  false  neck  is  placed  on  one  side  so  as  to  balance  the  true 
neck  of  the  vase.  Around  the  greatest  diameter  is  a  band  of 
latt'  Mscenaean  basketry  ornament;  abo\e  are  careless  semi- 
circles filled  with  dots,  and  two  doited  crosses  in  the  back- 
grcnmd.     The  glaze  is  greenish,  and  ver\'  poor.  H.  2\'i  in. 

1 373-8.  Bowi.s  of  pale  blue-green  glaze  with  various  designs  in 
the  same  dense  black  paint.   1573  has  a  bull  charging  through 

273 


1111,  (oi.i.i-c  rioN   oi    s.wAii,  ()B|i:(rs 

^'^ 'i"  a  pajn  Ills   IVmi,   nuuh   in   llu-  ^Ixlc  of  Miiiilar  l-'.,i;\  pt  iaii    bowib 

"1  ot  \hc  Will   l)\nasl\.      Kounil  this  central  design  is  a  honUT 

of  lotos  petals.  I S74  lias  an  F-.f^N  jit lan  cianeing-f;irl  in  the 
usual  conical  cap.  pla\  ing  a  long-nockcd  guitar,  with  lotos 
flowers  in  the  backgrouni.1.  iS7=i  (somewhat  broken)  has  a 
medallion  of  pap\  rus  and  lotos  plants,  within  a  lotos  border 
(C>'prus,p.  102);  I  S77.  with  brighter  blue  gla/e  than  the  rest,  has 
acenlral  lotos  flower;  1577  has  a  central  rosette;  It7S  is  plain. 
I)s.  s  iV  in.  -31',,  in.  C\  prus,  p.  102  ^i  S7  VM' ;  Perrot,  fig. 
4S3   (  1 S7V).  111.  cix,  2.  (IS73),  cviii,  i,  4.  2,  I  (I  ^74-  1 S77). 

157Q.  Pi. ATI-  of  characteristic  .\l\cenaean  form,  with  ribbed 
c\lindriLal  outside,  like  ihe  steatite  \  ase  153S,  and  the  ahi- 
baster  i<"i37;  in  the  centre  is  a  four-fold  lotos  rosette. 
I).  7  iV,  in.  ill,  c\  iii,  3. 

I  sH".  Bowi.  of  deeper  green  glaze,  with  low  rim  and  string-hole 
handles.  H.  \\  in. 

C.       HbLl.HMC    .\GH:    L.VTli    GRtihK    I .M IT.MIONS    OK 
t-.('.'>PTl.\N    CiL.\/h 

This  rare  fabric  has  been  found  at  .-\mathus  in  tombs  which  ma\' 
be  as  earl\-  as  the  late  fifth   and  fourth  centuries;  but  from  their 
forms  these  \  ;ises  ma\  well  be  as  late  as  the  third. 
iv'^1-2.     (.)\()iD  \'AShs  in  pale  blue  glaze,  with  narrow  neck  and 

standing-base.      The  surface  of  i5(Si  is  \er\-  poorly  preser\ed. 

Hs.  (i|  in.,  to}  in.  Ill,  ci.\,  3,  4. 

111.       OBjHClS     OF-     ,AL.\B.\S  IHR 

,.  ,.  Ihe  alabaster  objects  found  in  (^\prus  are  for  the  most  part  small 
Case  vases,  intended  as  toilet  articles.  Though  alabaster  of  fair  c]ualit\' 
74  is  found  in  the  lowland  parts  of  (]\  prus,  as  in  most  .Mediterranean 
coast-lands,  the  great  majoritx  of  the  alabaster  \ases  are  imports 
from  Eg\'pt.  For  Hg\pt  is  the  first  home  of  the  alabaster  industr\ . 
The  mineral  is  found  there  in  beels  of  great  thickness  and  beauti- 
fullv  banded  structure:  it  w;is  worked  copioush  from  the  earliest 
to  the  latest  times;  and  at  all  periods  when  I\g\  pt  was  in  free  enjo\- 
ment  of  its  own  ports,  or  chose  to  throw  them  open  to  foreign 
trade,  its  alabaster  \  ases  became  known  and  prized  abroad  and 
were  freel\'  e.xporled.  Iheir  use  spread  all  the  more  widelx  because 
the\  were  the  standard  \essel  for  the  distribution  of  the  rarer  oils 
and    perfumes.      Iheir  commonest   and   most   characteristic   form, 

274 


Cast 
74 


OBJhCrS    Ol-    AI.ABASIHR 

with    rounded    bottom,    almost    c\lindrical    bod\',    and    broad    flat    ^^^H 
rim,    was    named    b\'   Greek    antiquaries    from    the    mineral    itself 
"alabastron":    it   is  the   Biblical   "alabaster  box  of  \er}-  precious 
ointment." 

idle  elaborate  \ases  of  (]\prus  belong  essentially  to  three  such 
peri(Kls  of  Hg\plian  accessibility,  as  ha\e  been  noted  abo\e:  the 
.M\cenaean  period,  1500-1200  B.  (^,  corresponds  with  the  "New 
F.mpire"  ui  the  Will  and  XIX  Egyptian  Dynasties;  the  Hellenic, 
530-350  B.  ('.,  with  the  XX\'I  Dynast\'  and  successive  Greek  enter- 
prises in  the  Delta  during  Persian  rule;  and  the  Hellenistic  and 
Graeco-Roman,  with  the  Ptolemaic  D\nast\-  after  300  B.  C, 
when  Eg\pt  itself  was  in  CJreek  hands,  and  permanentl\-  revealed 
and  explcjited  thrcnigh  its  new  port  of  Alexandria. 
Though  the  age  of  these  alabaster  \ases  \aries  so  widel\-,  the  com- 
monest forms  remain  Hg\ptian  throughout,  and  are  almost  impos- 
sible to  ilistinguish;  particularl\'  as  the  craftsmen  of  the  XX\'I 
D\-nast\-  purposel\-  copied  the  work  of  the  X\'lll,  in  this  as  in 
other  departments.  It  is  only  when  \essels  of  characteristic  and 
datable  forms  in  metal  or  cla\-  are  imitated  in  alabaster  that  it  is 
possible  to  determine  approximatel\-  the  age  of  the  copies,  unless 
the  record  of  excavation  shows  precise!)'  with  what  other  objects 
of  known  date  a  gi\en  "alabastron"  was  found. 
It  is  also  impossible  to  distinguish  with  certainty  Eg\ptian  imports 
from  (^\priote  imitations.  Ihe  latter  are  probabl\'  confined  to 
\essels  imitating  characteristic  (^\priote  forms  of  potterx',  steatite, 
and  the  like,  and  in  Hellenic  times  to  a  few  plain  while  opacjue 
\arieties  of  "alabastron",  oi  undistinguished  form  and  coarser 
workmanship. 

1601-1620.  Ai.ABASTRA  of  con\'entional  l-'.g\plian  forms  and  cjuite 
imcertain  date;  the  prohle  of  the  bod\'  and  neck  \aries  slighth', 
and  also  the  position,  si/.e,  and  utilit}'  of  the  handles.  \'er\' 
commonh',  the  handles  are  not  perforated  at  all. 
Hs.  iij  in.      .\l  in.  G\  prus,  PI.  x\iii  (i()2(S,  |62());  111,  ex,  3, 

4,  ()  (1607,   i()02,    i')o-;j,  cxiii,  9,  S,    10  (i()22,    i()2H,  i()2(^). 

1621-30.  (>)Piis  (>]■  Bronzl  .\oi-;  P()iri-,K\'.  UMialK  in  apaleun- 
variegated  alabaster  which  ma\-  perhaps  be  nati\e  lo  (Ixprus. 
Similar  copies  of  si')me  of  these  fabrics  are,  howe\  er,  foimd 
fairlv  comnionK'  in  Ivg\'pt ;  and  these  (some  if  not  all)  are 
cut  in  l-.g\iitiaii  material.  Ihe  labri^s  which  are  imilatetl  all 
belong  to  the  Later  or  .M\cenaean  jteriod  of  the  \',ri>n/.v  .\ge; 


1111      COI.LHCTION    OI-     SMALL    OBILCTS 


Wall 
74 


\\w\-  arc  as  follows: — I'abric  vi  (321-2  in  W'ali-Caso  9)  imi- 
tated b\-  i()2S-c):  l-'abri^"  x  (3S()  in  Wall-Case  11)  b\-  1622: 
the  eharaLteristie  piriform  \ase  of  Fabric  xii  (417-19  in 
Wall-C^asc  12)  b\  the  fragmcntar\'  id^o.  The  original  of  1(12  1 
is  perhaps  a  (^pro-.Mxccnaean  \ase  of  Fabric  xiii  like  4()7-<'^ 
in  Wall-Case  12:  compare  also  the  better  worked  example 
!(it(),     which    is     thus     a[ipr()\imatel\     dated.  Ihe    tlask- 

like  forms  i924-()  are  nearer  to  F^gvplian  than  to  (^\priote 
tlasks,  but   clearh-  ha\e  protot\pes  in  cla\';  and  the  flat  base 


of  1(127  points  in  the  same  direction. 
C>'prus,  PI.  wiii  (  i(i2()-2S-2()-3()). 


H< 


1631-43.  C^,()i'ii.s  01-  SriAiriH  \'ASt-.s  chiefly  of  Late  Bronze  Age 
and  Earl\-  Iron  Age  forms  such  as  are  shown  in  Wall-Case 
73.  The  three-footed  bowls  is3i  tl.  for  grinding  paint  are 
imitated  hv  1(131;  a  characteristic  four-handled  bowl  of  the 
Late  Bronze  Age  b\'  1(532;  a  geometricalK'  ornamented  \ase 
like  I S40,  b\-  i()^4,  and  more  remotel\'  b\'  1(543,  though  both 
these  ha\e  rude  lotos-petal  designs  which  cannot  be  much 
earlier  than  ()so  B.  (>.  Fhe  form  of  i63()-7  is  alreadx'  familiar 
in  steatite  is^S  and  in  blue  glaze  1579;  and  that  of  1(541  in 
bowls  of  steatite.  The  models  of  1(533,  16^5,  1(538-40  are 
EgN'ptian  \ases  of  limestone,  steatite,  and  harder  stones,  which 
are  common  at  almost  all  periods:  1(533  has  alreati\'  been  quoted 
on  page  So,  in  illustration  of  the  "handle-ridge"  (5n  cla\'  vases 
of  the  .Middle  Ir(jn  .\ge:  its  rim,  which  is  missing,  was  cut  in 
a  separate  disc  of  alabaster,  which  fitted  over  the  neck  as  far 
as  the  projecting  flange.  Ihe  material  of  1(542-3  is  not  the 
ordinar\'  alabaster,  but  a  compact  white  stone  of  about  the 
same  hardness,  and  worked  in  the  same  style.  Ihe  use  of 
the  spinLile-shaped  object  1642  is  uncertain:  its  date,  howe\'er, 
is  fixed  b\  its  Earh'  Iron  .Age  ornament  of  drilled  "concentric 
circles."  Hs.  9;'',,  in.—  1  I'v,  in.  (Aprus,  PI.  x\iii  (1634-5 
36-43).  IIl,cxii,  4,  7,  (1631,  1632);    cxi,  1  (1635); 

ex,  5  (163S) ;     cxi,  2  ( 1(543). 


1644.  ScuLi'Ti.RKD  Lai5lb  of  c]uite  uncertain  date,  but  probahlx' 
made  in  F!g\'pt.  Ihe  handle  is  formed  b\'  a  swimming  girl, 
whf)  embraces  the  lotos-patterned  bowl  with  her  arms.  The 
design  was  popular  in  Eg\pt  under  the  .Will  D\nast\',  and 
w^as  copied  under  the  XX\'I.      It  is  found  also  in  i\ory,  ebon_\', 

276 


OBJECTS    OF    ALABASTER 

and  other  \aluable  materials.     L.    5j    in.      Cxprus,    PI.  xviii. 

Ill,    cxii,  I. 


1628 


1643 


1644 


1645-7.     Copies  of  Clay  Vases  of  the  Early  Iron  Age.    The  saucer 

1645  follows  a  common  form  like  those  in  Wall-Cases  16-17; 

1646  has  the  heavy  profile  and  disproportionate  neck  of  the 
large  amphorai  in  Floor-Cases  V-\'ll;  and  1647  shows  the 
body  of  a  conical  wine-jar  of  the  sixth  century  fitted  to  a  neck 
and  rim  more  adapted  to  be  cut  in  stone.  Hs.  4I  in. —  i  i',; 
in.  Ill,  cxii,  6;  cxi,  3  (1645,  1646). 

1648-58.  Copies  of  Hellenic  Vases,  and  other  late  forms. 
The  commonest  of  these  forms  is  a  graceful  narrow-necked 
amphora  with  ovoid  body,  distinct  foot,  and  very  small  handles 
on  the  shoulder.  1650-2,  1654-5,  1648-9  are  miniature  wine- 
jars,  164c;  with  pointed  base,  1648  with  moulded  foot  and 
cover;  they  have  a  long  neck  and  two  vertical  handles  (broken 
in  1648);  1649  is  not  earlier  than  300  B.  (].,  and  ma)' be  Graeco- 
Roman.  The  degenerate  and  clumsy  form  of  1657  may  be 
suggested  bv  a  similar  wine-jar.  The  deep  bowl  1653  seems  to 
imitate  the  peculiar  Greek  cruet-vessel  called  echinos  from  its 
resemblance  to  a  sea-urchin;  and  1658  copies  closely  the 
round-bodied  lekythos  or  oil-flask,  of  the  late  fifth  and  early 
fourth  centuries. 

The  alabastron  1656  shows  the  ancient  Kg\ptian  form  re- 
modelled bv  Greek  taste,  and  influenced  by  the  thin-lipped 
copies  in  clav,  which  were  pcjpular  in  Cirecce  in  the  filth  centurw 
This  tvpe  is  fairly  common  at  Amathus  in  the  richer  tombs 
from  Ihi;  end  of  the  sixth  century  to  the  beginning  of  the 
f(jurth.  Hs.   7I  li    in.    -  2   in. 

HI,   cxii,  2  hOsO;  cxiii,  1  (i65(»),   2   (1649),    5  (1648). 

1659.      I.NSCKIHIJ)    VasI'    of    cliaractL'ristic     I  ran>il  i(in:il    Iron    Age 


Wall 
Case 
74 


rill    coi.i.ic  rioN  ()i    sMAi.i.  ()B|i;(  rs 

\^ -ill  form  like  the    tla\'  vases  406-7  in  W'all-Clase  12:  with   incised 

"_^  panel   decoration,   and    (>\priote   characters   at    the    top  and 

/*t  .... 

bottom  of  each  panel,  discussed  with  other  inscriptions  in  the 

.\ppendi\.  H.  oj  in.  (]\prus,  PI.  x\  iii. 

Ill,  c.xli,  7  a,  b. 

i()6().     Alab ASTROS'    \vrrn   (^oni-r,   of  unusuall\'   large  size,    short 

broad  form,  and  uncertain  date.      It  is  probabl\'  of  Eg\ptian 

make.     H.    \2l   in.     1).  14I  in.     (]\prus,  p.  54.        Ill,  cxi,  5- 


(".on  ire 


IV.       OBJHCIS    OF    COMMON    WHITH    LIMHSTONH 
VARIOLS    PHRIODS    .AND    SlYLHS 

Wall  The  compact  limestone  of  the  lowland  parts  of  C\prus  is  but  little 
C.a>c  harder  than  chalk,  and  can  be  cut  with  a  strong  knife.  It  is,  there- 
fore, well  adapted,  not  onh'  for  sculpture,  but  to  form  small  boxes, 
altars,  lamps,  and  other  simple  pieces  of  furniture,  in  place  of  wood, 
claw  or  metal;  particularl\'  if  protection  from  tire  was  needed, 
and  weight  was  no  objection.  Such  stone  objects  were  made  in 
Cyprus  at  all  periods,  but  are  commonest  in  the  Earl\'  Iron  .\ge 
in  tombs,  and  in  the  Hellenistic  period  among  the  cheaper  oO'erings 
in  sanctuaries, 

i()()i.  PoRiABLL  Shrinh,  OR  Lanfern,  in  the  shape  (jf  a  rectangu- 
lar chamber,  t)pen  to  its  full  width  in  front,  between  rudel}' 
car\ed  pilasters  with  xolute  capitals.  On  the  floor  is  car\ed 
a  stone  lamp  of  the  pinched  saucer  shape,  like  i(k)I-2  below 
and  2S01  tT.  in  the  (collection  of  Lamps.  I'rom  the  shape  of 
the  lamp,  and  the  \olute  capitals,  this  object  ma_\'  be  assigned 
proxisionalh' to  the  sixth  century,  M.  10]  in.  Doell, 

xiii,  IQ,  S(j^. 

i662-().  KhCTANorLAR  (diHSTS,  ou  fouT  fcet,  imitated  from  the 
W(joden  chests  such  as  are  still  an^.ong  the  commonest  pieces 
of  furniture  in  peasant  homes  in  Cyprus  and  other  Greek 
lands:  compare  the  cla\'  chests  2I2t-()  in  the  Terracotta  Col- 
lection; and  also  the  construction  of  the  great  stone  sarcoph- 
agus n()T  in  (Centre-Case  E.  Similar  stone  chests  ha\e  been 
found  in  tombs  of  the  Karliest  Iron  .Xge,  associated  with 
objects  of  steatite.  (Hhers  found  at  Tell-er-Retabeh  in  Eg\pt 
are  assigned  to  the  X  .X 1 1  I3\nast\-  fPetrie,  Hyksos  ami  />- 
raelite  Cities.  i{)o(),  Plate  xxx\"i,  c).  Of  these  examples,  i6()4 
is  ijuile  plain,  but  shows  well  the  wooden  underframe  of  its 
original;     i()()2-3,     i6()t,     ha\e    roughl\'     incised     geometrical 


oHjHcis  oi    wnni-;    i.i.Mi-sroNr-; 

desigiib,  cunip()i,L'il  of  trianj^los  either  latticed  and  arranged  to  \Vall 
set  off  a  band  of  ehexron^  (iW)2J,  or  filled  with  dots  (1665),  ^"^ 
and  grouped  cross-fashion  in  panels  (i()()^).  1666  has  the 
side  panels  brought  nearl_\-  to  the  ground,  and  perfcjrated  with 
triangular  openings,  copied  from  open  woodwork.  On  the 
long  frt)nt  side  is  car\ed  in  low  relief  a  dog  or  wolf  pursuing 
a  long-horned  goat,  in  a  st\le  akin  to  that  of  the  rude  steatite 
seal-stones  of  the  Earl\'  Iron  .\ge:  compare  W'all-C^ase  73  and 
4332-57  in  the  (~ollection  of  Engraxed  Stones.  On  each  end, 
also  in  relief,  is  a  female  figure,  nude,  with  upraised  arm;  and 
on  the  back,  panels  of  geometrical  ornament,  incised.  Hs.  ()| 
in. —  4-i'(i  in.  1,  304  (i()()6);   503-307  (i6()2-()4). 

i()67-(S.  C^'iLiNDRiCAi,  ToiLhT-Boxbs,  Oil  a  high  foot,  supported 
on  lions'  claws.  The}'  should  ha\e  close-fitting  cylindrical 
covers,  to  rest  on  the  flange  at  the  lower  angle  of  the  bod)'. 
The  st\'le  suggests  a  metal-pattern;  but  similar  bo.xes  cut  in 
marble,  are  found  in  Oete  and  other  parts  of  Oreece.  IVom 
their  profile,  these  examples  seem  to  be  of  Hellenistic  .Age. 
Hs.  4I  in.,  3s   in.  1,  608,  ()o6. 

166').  Sh.nllow  Bowl,  with  trough-spout  and  two  handles,  of  the 
same  t\"pe  as  the  alabaster  bowl  i()>,2  in  Wall-Case  74,  and 
its  hard  stone  models,  it  probabl}'  belongs  like  them  t.)  the 
l{arl\'  IrcMi  .\ge.  D.  7 J  in. 

1670.  .MiNiATtKE  Altar,  standing  on  four  feet,  with  an  eight- 
horned  top  dexeloped  from  the  .\l\cenaean  tour-horned  t\pe, 
and  akin  to  the  horned  "altar  of  incense"  in  the  Jewish  Taber- 
nacle. These  miniature  altars  are  lairlx'  common  in  tombs 
of  the  Earh'  Iron  .Age;  and  were  intended  lor  use,  as  the  smoke- 
stains  on  this  one  show,  l-'.xamples  in  bron/e  are  found  in 
North  ,S\ria.  H.  3 1  ,';  in. 

1671.  I. AMI',  roughU'  turned  in  a  lathe  to  a  wide  loot  and  top, 
connected  In  a  narrower  support.  1  he  top  is  con>.a\e,  with 
a  shalkjw  lateral  groo\  e  to  hold  a  wick.  Ihi^  lamp  has  been 
in  use  like  lO/O  and  shows  siiioke-siains.  I  he  lorm  serins 
to  be  deri\ed  irom  that  <>\  the  columnar  lamps  ol  the  .\linoan 
Age  in  Ortr;  InU  probabK'  this  example  is  not  older  than  the 

Transitional  Period  of  the  T.arlv  Iron  Age;  comfniri'  the 
columnar  bowk  1352  in  steatite,  and  1057  'n  alabaster,  which 
ma\'  be  .\1  we'iiaean.  IT',  1'.,  in. 


nil    t.(H.Li:(:i  ION  oi-   small  objlcis 

Wall    iC)7j-4.     C^oi'ii-s  oi    C.i.A'i'  \'asi-.s,  \er\'  rudel\'  carved:  1672  copies 
'^■■'^^"  a  domestic   juii  of  the  tourlh  or  third  centur\';    1673  a  vase 

of  the  same  l\pe  as  i  S40  in  steatite  and  i()^s  in  alabaster, 
but  \er\-  hkel\'  later  in  date  than  these;  1673  (a)  of  the  same 
l\pe  but  ruder  still;  1074  an  ordinary  alabastron  like  those 
in  Wall-C^ase  74.  Probablx'  these  clumsy  objects  are  poor 
men's  substitutes  t'or  more  \aluable  otTerings  at  some  sanct- 
uar\-:  compare  a  stone  saucer  in  the  C\prus  Museum  (C.  .M.  C 
47())     from    the    principal    sanctuar\-    at    Idalion.  Hs.    50 

in.,  s]  in.,  8.J  in.  Doell,  xiii,  14,  (Sis  (1670);  18,  816  (1671). 

1,  5()7,  599,  O03,  603. 

1675-S7.  \'oTi\H  Offerings  for  Recovery  fro.m  Accidents  or 
Disease.  These  are  roughl\-  car\ed  in  relief  or  in  the  round, 
and  represent  the  damaged  part  (1675-6),  foot  (1677-8),  hand 
(1670),  finger  or  toe  (1680-1),  ear  with  earring  (i()82),  e>-e 
(1683),  pair  of  eyes  (1685-7),  ^^i"  *^}''-'S  and  mouth  (1684); 
compare  the  childbirth  offering  1226  and  the  large  slab  1227 
in  Wall-Case  47,  which  represents  a  pair  of  breasts  (like  the 
single  breast  1676  above),  and  probably  some  internal  organ. 
The  custom  of  dedicating  such  \'otive  models  is  still  common 
among  the  peasantrx'  in  most  countries  of  Europe  and  thi 
Clhristian  East.  Doell,  xiii,  9,  798(1680);  3,  796  (1682);  8, 
797  (1684);  7.  789  (1687).  1,  cxxix,  925  (1676);  xxviii,  157-8 
(1677-8);  cxxix,  927,  931,  934,  936,  926  (i68o-2-4-5-()-7). 

1688.  X'oTivE  Disc,  perhaps  a  cop>-  of  a  mirror  or  an  athlete's 
quoit.  It  has  a  small  handle  perforated  for  suspension  and 
incised  ornament  of  dotted  triangles  round  a  central  rosette 
inscribed  with  compasses.  I'rom  the  c^rnament,  it  would 
seem  to  be  of  the  Earl>-  Iron  Age:  compare  the  dotted  triangles 
on  the  stone  chest    1665.  D.  b\   in. 

1689-90.  Handles  of  I-'ire-Shovi-.ls,  for  carrying  lighted  coals 
lor  an  altar  of  incense.  1'he\  end  in  animals'  heads,  and 
1689  shows  much  red  colour  on  the  rim.  The  st\le  suggests 
a  date  in  the  fourth  centur\-  C~ompare  the  inscribed  handle 
(1861)  in  the  Collection  of  Inscriptions.        l.s.  8',  1'  in.,  yl  in. 

1691-4.  Salci-r-Eamps  copied  from  the  conimon-cla\-  "pinched- 
saucer"  lamps  (jf  the  fourth  and  earlier  centuries:  compare 
also  4978-81  in  the  Collection  oi  Bronzes.  Ls.  4^  in.—   3^ 

in.      Doell,  xiii,  13,  808  (i()92). 

2S() 


OBJECTS    OF    WHITE    LIMESTONE 

1695-6.     Lamps,  in  the  shape  of  an  animal's  head,  copied  from  a    ^|ij^ 
very  late  t\pe.         Ls.  3!  in.,  3I  in.  I,  194.  '93-    -\ 

1697-1700.     Saucers,    1697-8,  and  Strainbrs,    1699-1700,  copied 
from  common  cla>-  forms.         Ds.  4^  in. —  3t  in. 


2.S1 


THE  COLLI  C;riON  OF 

LMPORILD  VASLS 

OF 

gri:i:k  fabrics 


THE  COLL.KCTION  OF   IMPORIED  VASIiS 
OF  GRFFK  FABRICS 


A 


all  periods  when  Cyprus  has  been  in  communication  with    Moor 
the  Greek  world  to  the  westward,  the  current  fabrics  of   ':v;ses 
Greek  pottery  have  been  traded  to  the  island,  and  occa- 
sionalK'  have  been  in  "reat  demand. 


1  \  A-B 


l-ATE     BRONZH    AGH:    AnCBNAUAN     ST">LH     (FABRIC    Xl) 

The  Mycenaean  \ases  of  the  Later  Bronze  Age,  corresponding 
with  the  Cretan  sl\ie  known  as  "Late  IMinoan  111,"  which  had 
so  profound  an  influence  on  the  native  fabrics  of  the  Transitional 
Period  and  Early  Iron  Age  (Fabrics  xii,  xvi),  ha\e  alread\- been 
described  in  their  place  in  the  (Collection  of  Potter\';  see  417-452, 
in  Wall-Case  12  and  Floor-Case  III. 

bARL't    AND  MIDDLE   IRON   AOh!    ClRLtK  (<  HOM  HTR ICAI.  ST1LH 

In  the  Ear!\-  Iron  Age,  the  geometrical  style  of  the  Greek  main- 
land, and  the  Aegean  islands  as  far  as  Oete  and  Rhodes,  develops 
on  different  lines  from  that  of  (Cx'prus.  Intercommunication  was 
diflicult  during  this  troubled  period,  and  western  imports  into 
(C\'prus  are  therefore  rare.  Ihex'  are,  however,  not  wholl\'  absent, 
and  170!  is  in  fact  among  the  finest  examples  of  its  class.  It  is 
indeed  so  fine,  and  was  for  a  long  while  so  unj  aralleled  among 
\ases  found  in  ("xprus,  that  the  question  has  been  often  raised 
whether  it  was  reall\'  found  there  at  all.  It  is  clear,  hi)\se\er,  I  hat 
occasional  imports  must  in  an\'  case  be  assumed,  in  order  lo  ai.C!)unl 
lor  the  school  of  nal  ive  imitations  illusi  rated  hv  1  707-10;  and  a  frag- 
ment painted  with  the  same  grazing  animals  as  1701,  whiLh  was 
tounii  at  Amalhus  during  I  he  I'riliNh  M  ust'um's  exaiN  al  ii  mi^  in  i^^'i4, 
remo\es  all  doubt  as  to  the  facl  of  traffic  in  largi'  \ases  ol  I  his  sl\lc 
and    date.     Other    \ases,    b<»lh    inu'tated    and    pnibalilx'    imimtled, 

2H--, 


THH    COI.I.FicrrH^N    OF    IMPORTED    VASHS 

wore  fdiiiid  in  the  sanio  cxeaN  atit)ns  at  Amathus,  in  tombs  which 
can  be  securch  dated  to  the  Middle  l^eriod  of  the  Cypriote  Iron  Age. 


1-1. )or 


)i.      I'oL  K-HANiii.i-,D  Nasi,  wri  h  CloxhR,  of  characteristic  "  Dipy- 
\  ,\  k)n"  form,  so  called  from  the  celebrated  Early  Iron  Age  ceme- 

ter\-  at  Athens.  The  o\  al  bod\'  stands  on  a  high  foot,  with 
moulded  base.  On  the  shoulder  are  four  high  loop-handles. 
The  co\  er  is  surmoimted  b\  a  miniature  hwiria,  in  place  of 
a  knob.  Both  the  \ase  and  its  co\er  are  decorated  in  the 
richest  geometrical  st\le,  with  close  atllnitN-  to  the  .Attic 
"  l)ip\  lon"\\i)rk.  The  broad  bands  and  groups  of  lines  on  the 
lower  part  of  the  bod\',  and  the  friezes  of  tangent-circles  are 
alread\'  familiar  (p.  75)  as  sur\i\als  of  .\l_\'cenaean  decora- 
ti(Mi:  one  of  the  tangent-circle  friezes  has  "concentric  circles" 
like  that  nf  the  C^\priote  geometrical  style  (600-6  in  W'all- 
Clase  17).  The  dotted  rosettes  in  the  background  of  the 
panels  are  also  borrowed  rarel\'  b\-  the  Cx'priote  style  (596, 
~22).  Other  .M\cenaean  reminiscences  are  the  scheme  of 
the  doe  suckling  its  kid,  the  heraldic  grouping  of  deer  about 
a  "sacred  tree."  and  the  double  axe  — well  known  as  a  sacred 
sx'inbol  in  earl\'  Oete  -  which  is  suspended  over  the  tethered 
horses  in  the  shoulder  panels.  On  the  other  hand,  the  con- 
ventional groups  of  grazing  horses,  long-legged  water-birds, 
and  deer,  are  as  characteristic  of  the  new  art  of  the  Iron  .Age, 
as  are  the  panel-decoration,  key-fret  ornament,  eight-pointed 
stars,  and  chequered  and  latticed  backgrounds. 
1  he  \"ase  has  been  broken  into  man\'  pieces,  and  has  been 
full}'  and  \  erv  carefulh'  restored.  Restorations  are  easil\' 
distinguished  from  original  fragments  b\'  their  texture. 
H.   ^  ft.  10;  in.     Perrot,  fig.  514;      C\prus,  PI.  xxix.     11,  85,. 

f.-|,,fjr    1702.     OiNocnoH,   with   long  c\'lindrical   neck  of  a   characteristic 
(..ase  "  Dipxion"  form.     The  bod\'  is  decorated  with  man\'  narrow 

bands,  a  natural  dexelopment  >)f  the  .\l\cenaean  broad- 
and-narrow  grouping,  in  a  st\ie  which  abhors  broad  zones 
and  silhouettes,  and  habituall\'  uses  the  brush  as  if  it  were 
a  pencil  or  a  graxer.  The  shoulder  has  tangent-circles,  and  a 
wa\\'  line  fringed  with  dots,  another  heritage  from  the  latest 
.Mxcenaean  st\le.  On  the  neck  is  a  scheme  of  panels,  frameii 
with  tangent-circles,  and  filled  with  ui)  a  cross  nf  four  con\en- 
tional  lea\es;  i.bi  two  horses,  tethered  at  their  mangers,  with 
water-birds,    double-axes,   swastikas,    and    arrow-lines    in    the 

286 


1  .\  P. 


i7<" 


THE    COI.I.i;(.TI(1N    Ol-     IMI'ORII-D    VASHS 


Floor 
Case 
l.\  R 


field:  for  the  lasl  twd  moli\es,  which  appear  sparingl\'  in 
(-\pric)te  geometriLal  work,  see  p.  7^.  The  general  effect 
is  \er\'  eloseh'  akin  to  thai  of  1701:  the 
eia\'  is  softer  and  more  porous  than  is  usu- 
al in  the  Dipxlon  fabric,  and  is  nearer  to 
some  of  the  clax'S  of  .\rgolis.  H.  141',;  in. 
1703-5-  ()i'i;n  B()wi>,  with  low  neck  and 
two  small  handles.  The  form,  hard  cla\-, 
and  lustrous  pigment  are  quite  foreign  to 
(^\prus,  and  akin  to  the  [^ip\!on  fabric. 
"i"he  ornament  is  in  each  case  a  scheme  of 
panels  containing  bird---  (1703-4);  dotted 
rosettes  (1703-4);  chec]uers,  lattice  lozenge, 
and  cross  of  four  leax'es  (1703);  and  ke\- 
fret  (1707).  On  the  neck  of  1703  are 
tangent-circles  as  on  1701-2.  Hs.  3.}  in. 
2|  in.,  2I  in.  II,  10S7  (1703).  ''°^ 

The  vases  hitherto  described  ma\'  be  contidentl\'  accepted  as 
foreign  imports:  the\-  belong  to  that  phase  of  the  Earl\"  iron 
Age  in  the  Aegean  which  is  represented  in  the  earliest  Dip\'lon 
tombs  at  .\thens,  and  in  the  cremation  tombs  at  Halos  in  .\chaea 
Phthiotis.  i<arel\-,  however,  copies  are  found  in  nati\-e  C\priote 
cla\'  and  inferior  workmanship,  an  additional  proof  of  the  esteem 
in  which  these  geometrical  \ases  were  held. 

1706.  Open  Bowl,  of  the  same  form  as  1703-5  but  in  mcjre  porous 
cla\',  probabl\'  C_\'priote.  On  the  neck  is  a  zigzag  line,  such 
as  is  common  on  native  bowls,  and  in  the  body-panel  a  blun- 
dered imitation  of  a  ke\'-fret  outlined  and  tilled  with  oblique 
lines  in  imitation  of  foreign  bowls  like  1705.  This  example 
of  nati\e  copx'ing  stands  ver\'  close  to  its  models,  and  is  prob- 
abl\'  of  the  same  date,  about  1000-800  B.  C.  Similar  nati\e 
copies  ha\e  been  found  at  .-Xmathus  in  tombs  of  the  .Middle 
Iron  .Age.  H.  30  in.  II,  1081. 

1707.  Open  Bowl,  of  similar  form,  but  rather  later  workmanship, 
and  further  remo\-ed  from  the  imported  model.  The  cla\-, 
which  is  reddish  and  seems  to  be  native,  is  covered  both  inside 
and  out  with  a  brighter  red  slip;  on  this  are  painted  black 
bands  and  patterns,  and  also  three  zones  of  creanu"  white. 
Compare  the  "tricolour"  fabric  of  Red  Painted  Ware  in  Wall- 
Cases  25  and  2().     On   these  white  bands  are  painted   11)   a 

288 


EARLY    AND    MIDDLE    IRON    AGE 

kev-frct  in  black  outline  and  (2)  a  cable-ornament  left  white   f^'onr 
on  a   black  ground,   a  device  already  discussed  on  GoS,   699    f^% 
in    Floor-Cases  \'   and   \'l.     The  use  of  the  cable-ornament 
betrax's  Oriental   influence,   as  on  671,   700,   and  on  some  of 
the  geometrical  pottery  of  Crete,  and  ma\-  be  regarded  as  dat- 
ing this  vase  about  800-700  B.  C.         H.  3  in.  II,   1080. 


1 703  1 704  1 706 

1708-9.  Ophn  Bowls,  of  similar  nati\'e  make,  but  simpler  form 
and  ornament.  The  cla\-  of  i7f)8  is  light-coloured,  with  a 
panel  scheme  in  black,  between  broad  bands  of  a  dull  red 
paint  which  is  also  used  on  the  inside;  1709  is  painted  in 
red  onlw  This  red  paint  is  habitual  in  the  potter\-  of  C\'- 
prus,  but  unknown  to  the  geometrical  schools  of  C.reece  and 
the  islands.  It  is  curious,  and  at  present  unexplained,  that 
red  paint  is  popular  again  in  the  geometricallx'  painted  wares 
of  Southern  ltal\-  which  likewise  belong  to  the  "dark  age" 
between  the  .Minoan  culture  and  the   Hellenic.  Hs.   2^   in., 

3i''fl  in.  II,  1084  ( 1708). 

Another  imported  fabric,  with  large  s\stems  of  concentric  circles, 
applied  mechanicallx'  b\-  means  of  compasses,  belongs,  like  1701-5, 
to  some  Cjreek  land  to  the  westward;  and  is  of  importance  as 
suggesting  foreign  origin  (in  part  at  least)  for  the  "concentric  circle" 
ornament  which  becomes  so  popular  in  the  nati\e  (Cypriote  st\'le: 
see   especiallx'   600-6    in   Wall-Case  17. 

1710-1  I .  ()i>HN  Bowi  s,of  the  same  form  as  1703-5  and  of  a  hard  light- 
coloured  cla\-  with  lustrous  black  glaze  which  coN'ers  the  whole 


of  thf  inside,  anil  also  \hv  ;)Ul^id(■  of  ihe  neck  and  loot.  The 
sojr  ornament  consists  nf  kirtic  s\  sirms  of  cimci'nt  ric  si'micircK's. 
crowded  so  as  lo  o\rrla[i.  Thf  cla\-  and  p:\\ni  of  1711  are  red 
through  oxerliring.  lis.  2^   in.,   >,  in.  II,   loS:,  (1710), 

2,S9 


THI-:  coiiicTioN  oi    imi*()R'h:d  vasi:S 


Floor 
C;asc 
l.\  R 


LATl-.K     IRON     AC.l,:     \' A  K  KH  S     nRFl-K      lABRICS     OF     TH1-.     PHRlOl) 
0(     ORIIN  lAL     IMl.L  (NCI  .    ABOUT   J^O-y^O   B.   C. 

Tlic  great  \-arii'l\'  aiul  rich  ck'coration  of  the  full\-  developed  "Cirae- 
eo-Phoenician"  st\ie  in  (Aprus  itself  arc  enouf:;h  to  account  for  the 
raril\'  ot"  foreign  \ases  during  the  Later  Iron  Age.  For  variety 
and  splendour  Cyprus  could  hold  its  own  against  them  all.  The 
few  that  ha\e  been  tound  in  tombs  of  this  period  testif)',  however, 
b\'  the  variel\-  of  their  fabrics,  to  the  wide  range  of  westward 
intercourse  which  ( Ix  prus  began  to  enjo\',  when  once  the  sea-ways 
were  freed  again  lor  peaceful  traffic.  The  traditional  "Seapower 
of  (^\prus,"  which  ma\'  he  assigned  to  the  latter  part  of  the  eighth 
centur\'  (p.  .\xxi\  ),  marks  an  important  step  in  the  reopening  of 
the  Lexant  to  (.jreek  enterprise. 
1712.     Ami'hora  of  an  imported  C^reek  fabric  resembling  that  of 

Samos.      The  cla\-  was  nalurall\-  cream-coloured,  but  is  slightly 

over-tired.        The  only  ornament   consists 

of  a  tew  bands  of  lustrous  paint,  with  two 

wa\'v  lines  on  the  neck,  a  Mycenaean  sur- 

vi\-al.     Compare    the   earliest    \ases    from 

the  cemeterv  of  Samos  itself:  Boehlau,  .^us 

loni.uhfii  iiiiil  Acolischcii  K t'kropohnu  Plate 

ii,  '■).  Ill,  I.      This  example  cannot  be  much 

later  than  Soo  B.   ('..,    and    ma\-    well    be 

earlier.      H.  1  vl  in. 


r^ 


1713.  Amphora,  of  imported  fabric,  prob-  ,_|2 
ably  ear!\-   Ionian,  but  distinct  from    that 

of  1712.     The  cla\'  is  light-coloured.     The  decoration  consists 
of  a  few  bands  of  brown   paint    and  a   roughl\- 
drawn  group  of  lea\es  on  the  neck.      It  is  prob- 
ably n(3t  later  than   700   B.   (',.,  and   ma\'  be  a 
good   deal   earlier.  II.  c)]  in. 

1714.  Proio-Cokin  iniAN  Pyxis-Lid,  n(jt  quite 
of  the  earliest  fabric,  for  it  has  bands  of  dull  red 
as  well  as  the  customarx'  black  star-ornament . 
but  probabl\  not  later  than  700  B.  (].  Other 
Proio-C'orinlhian  \ases  are  recorded  from  .\ma- 
thus  (in  the  British  .Museum)  and  Limassol 
((^..\L(^.    1501);   the\'  are  oxoid   "lekxthoi"  of 

the  earliest  fabric,  with  the   "running  dog"   ornament   on   the 
shoulder.  D-  js  ''">• 

2yo 


■715 


LATFR    IRON    AGK 


1715.  Pkoio-C^.orin  TMiAN  I^-i'xis,  with  plain  hands  of  red  and 
black.  The  wcjrkmanship  of  these  miniature  \ases  is  not 
often  as  defective  as  this:  and  it  ma\'  perhaps  be  a  native 
imitation,  like  the  poor  specimens  in  the  earliest  tombs  of  the 
Hellenic  colonies  in  Sicilw    It  ma\'  be  about  700  B.  C.   H.  i  {',;  in. 

The  little  x'ases  which  follow  illustrate  well  the  influence  of  Kg\'p- 
tian  and  other  Oriental  moti\-es  in  other  parts  of  the  Greek  world, 
and  are  therefore  particularl\'  instructi\'e  in  comparison  with  the 
"plain-bodied"  st\le  in  Cxprus;  but  there  is  at  present  no  clear 
evidence  that  either  st\ie  directlv  intluenced  the  other.  For  the 
"plain-bodied"  style,  see  3C}8-q  in  Wall-Case  17;  03 1,  634  in  Wall- 
Case  18;  and  the  whole  series  of  "bird-jugs"  in  Wall-(2ases  21-22 
and  Floor-Case  VI 11. 

1 7 16-7.  Aryballoi  of  globular  form  and  earl\-  fabric,  like  that 
which  is  commonest  in  the  tombs  of  Kamiros  in  Rhodes.  I  hey 
are  "plain-bodied,"  and  their  sole  decoration  is  a  conventional 
lotos-rosette  in  black,  without  anv  incised  lines.  .About  650 
B.  C.         Hs.  2|  in.,  1 1  in. 

1718.  Aryballos  of  the  same  globular  form,  but  decorated  with 
a  procession  of  four  warriors  who  are  almost  hidden  behind 
large  circular  shields;  a  common  moti\e  in  this  earlv,  perhaps 
(x)rinthian,  st\ie.  Black  paint  is  used,  in  solid  silhouette, 
with  details  painted  over  it  in  red  and  white,  and  \er\'  sparing 
use  of  incised  lines.  The  tongue-ornament  round  the  shoulder 
is  of  Oriental  origin,  akin  to  the  rosette.  About  ()oo  B.  C. 
11.  2,',  in. 

i7i().  Aryballos  of  jtearshaped  form  and  Orientalizing  fabric, 
probably  (Corinthian.  It  is  d^voraled,  on  a  plain  bo(.l\',  with 
a  bird  standing  between  two  horse  heads.  On  the  rounded 
bottom  is  a  rosette,  and  behind  the  handK' a  long-legged  water 
bird.  'I'his  bird,  and  the  horses,  are  notable  sur\i\als  of  the 
animal  forms  most  popular  in  the  old  Ceometrical  st\ie,  1701-3. 
The  design  is  in  black,  with  .opious  red  cKiails,  and  free  use 
of  incised  lines.      About  ()'■,()-()()()  IT  C.  11.  4'   in. 

1720-1.  Pi-,AR-~if AiM.i)  Akvbai.i.oi,  of  regular  Corinthian  labric 
with  black  and  red  bands.  P.olh  ha\e  characteristic  "tongue- 
ornament"  like  171S:  on  1721  are  a  \cw  incised  lines  in  muta- 
tion of  gadrooncd  metal-work.  About ')So-()oo  B.C.  I  Is.  3  , ',;  in., 
3i'«  in. 

2t)I 


Moor 
Case 
l.\  B 


l-'!.)(>r 
Cast- 
l.\  1^ 


Till.  coi.Li-ci  ION  oi    iMi'()Rri;n  vasi-:s 

172^-^.  1'an  1  AsTn:  Ak'i  HAi.i.oi  in  the  form  of  a  ram  (1722)  and  a 
siron  or  human-hcadcil  bird  (172O.  Both  are  decorated  in 
dull  black  and  rod.  The  diw  of  1722  is  softer  than  usual 
in  this  st\ie,  and  ma\-  be  Cypiriote;  that  of  1723  is  full  of 
shining  Hakes  of  mica,  like  the  cla\'s  of  Miletus  and  other  parts 
of  Ionia.     About  650-(k)0  B.  C.         Ls.  3  in.,  4I  in. 

1724.  Corinthian  \'ash  of  characteristic  tlat-based  form,  with 
low  neck  and  three  handles  modelled  with  female  heads. 
Its  decoration  is  in  the  rich  but  careless  Corinthian  st>le 
based  on  the  patterns  of  Oriental  textiles,  with  a  crowded 
frieze  of  animals,  sphinxes,  sirens,  and 
floral  background,  in  lustrous  black 
silhouette  with  dull  red  details,  and 
"tongue-ornament"  round  the  neck. 
About  650-600  B.  C.        H.  3s  in. 

1725.  Rhodian  or  Milesian  Oino- 
CHOH,  ver\-  fragmentar\',  and  damaged 
by  overfiring.  It  shows  two  friezes  of 
animals,  birds,  and  griffins,  with  very 
sparing  use  of  dotted  rosettes  and 
maltese  crosses  in  the  field.  Red  paint 
is  used  rarel)',  and  the  internal  details 
are  not  incised,  but  skilfully  reserved 
in  the  light  colour  of  the  clay,  as  in 
the  finest  "plain-bodied"  vases  of  Cy- 
prus, 731  IT.  in  Floor-Case  \'1II. 
Between  the  friezes  is  a  rich  zone  of 
meanders  alternating  with  square  ros- 
ette-panels. About  600  B.  C.  H.  5I  in. 

1 726.  Samian  Amphora  of  the  beauti- 
ful fabric  known  as  "I'ikellura  ware"  from  the  site  in  Rhodes 
where  it  was  first  discovered.  It  is  of  slender  graceful  form, 
with  characteristic  design  in  lustrous  black  on  the  cream\' 
clay,  showing  on  each  side  a  long-legged  water-bird  between 
large  palmettes  with  scrolled  stems:  below  is  a  zone  of  the 
"crescent  ornament"  peculiar  to  this  st\le,  and  on  the  shoulder 
is  a  leaf-pattern.  About  ()oo-5tO  B.  C.  H.  q/'ii  in.  Doell, 
x\ii,  2,  3()7i;  C\prus,  PI.  xlvii,  tig.  41. 

1727.     d'wo-HANDLi:n  \'ash   with  Spout  and  Clover,  of  a  well- 
marked  fabric  which  has  been  described  as  Rhodian,  and  is 
292 


1 720 


LATER    IRON    AGE 

usually  found  in  the  southeastern  region  of  the  Aegean.     The    F'oor 
elaborate  ke\-fret,  tangent-circles    in  brown  paint  on  the  pale   f^^'^^ 
day,  and  the  co\er-knob  shaped  as  a  miniature  vase  like  1701, 
indicate  descent  from  a  geometrical  fabric;  but  the  form  of 
the  vase  and  the  freely  drawn  olive-wreath  on  the  shoulder, 
are  marks  of  later  date.     About  600-500  B.  C.         H.  12J  in. 

11,  ()02. 

172H.      l-ANTASTic  \'ash,  with  the  bod\-  modelled  as  a  female  head, 

in  an  archaic  Greek  st\ie,  probably  Ionian  or  Insular.      It  is 

of  red   cla\',   with   lustrous    red   slip.     About    550-500   li.   C. 

H.  5!  in.         C\-prus,  fig.  13,  p.  402. 


1729 


17-24 


1729.  Corinthian  Black-1-~iglrhd  l-hoRiA  of  mature  fabric  and 
st\ie.  I  he  reddish  cla\'  is  cox'ered  with  black  glaze,  except 
on  a  single  panel  in  fr(.>nt,  which  is  di\idetl  into  two  compart- 
ments. In  the  upper,  two  lions  stand  confronted;  in  the 
lower,  Herakles  wrestles  with  the  Nemean  Lion,  while  an  eagle 
boxers  in  the  background.  Details  are  rendered  b\'  copious 
Use  of  reel  j^aint  and  incised  lines.  The  numerous  inserip.t  ions^ 
\  er\'  carelessK'  written,  are  in  the  ( Corinthian  alphabet ;  but  onlv 
the  word  II  pafy.JAs;  ( 1  lerakles)  is  recognizable.  About  550-500 
\'>.  ('..         11.  13.1  in.         (^Njirus,  p.  4  M .  lig.  >,2.  II,  !()()(). 


iiii.i.ink;  A(.i, :     urACK-i  K.rKi.D     and     KiD-iiorRin     iahrics 

AM)   \A^I>    WHOM.')    (,(i\  IKl   I)   Willi    BLACK    (.I.AZI. 

I  I'om   the  close  of  the  sixth  ceiiturx'  onwards,  all  other  f.ibrics  of 
imported   \  ases  gi\e  place  to  those  of  .Athenian   maniifact  ihh',  or 

^93 


THI-:    COI.l  I'CTION    OF    IMFORTl-D    VASHS 

I  loor  at  least  produced  undL-r  prodoniinantlx'  Athenian  inlluenee.  The 
1\  H  "l"'l'i>-'ls-tigured "  ,t;ri)up,  described  below,  marks  the  period  of 
close  interct)urse  which  preceded  tiie  Persian  Wars  (p.  xxx\i).  The 
absence  of  the  latest  "black-figured"  group,  and  the  earliest 
or  '"sexere"  phases  of  the  red-tigured  style  is  explained  in  the 
same  \va\  b\'  the  failure  of  the  C!\  priote  revolt  and  the  seclusion 
of  the  island  until  about  4()o.  The  one  "tine  red-figured"  vase 
in  the  collection  (  1740)  belongs  \er\'  closelx'  to  the  period  of  Athen- 
ian acti\it\  in  the  l.e\ant,  from  4(m)  to  44(),  and  should  be  com- 
pare^i  with  the  "red-figured"  \'ases  from  recent  excaxations  at 
Naucratis  in  the  Hg\ptian  Delta,  which  are  closeh-  dated  hv  the 
same  political  e\ents.  I'he  late  and  inferior  vases  oi  small  size, 
lamp-tillers,  askoi,  and  small  lek\thoi,  which  are  verv  abundant 
in  the  cemeter\'  of  .Marion-Arsinoe  near  Poli,  and  are  found  in 
smaller  numbers  on  most  of  the  more  important  sites,  represent 
in  their  turn  the  prosperous  phil-Hellenism  of  Evagoras.  .After 
the  ct)llapse  of  his  dxnastw  and  the  restoration  of  Persian  rule, 
Attic  imports  become  rare  once  more;  and  before  the  island  was 
freed  by  Alexander's  \ictories,  the  .Attic  workshops  had  lost  both 
skill  and  fame. 

These  \ases   are  at  present  exhibited    in  the  first  three  Wall-Cases 
of  the  Cireek  Vase  Room,  IX  C,  D,  E. 


BL.ACK-FU'.URHD    \ASHS:    IONIC    .WD    .ATTIC 

Wall   '73"-4-     iuNic    K'lLiKKS  .-WD   Bowls  in  reddish  cla\-  with    black 

Cases  glaze  bands  o\er-tired  to  red;  the  forms  are  hea\ier  than  the 

(^  ,^  ,  later  kxlikes  which  follow,  and  there  is  no  figured  decoration. 

Hs.  Vi ,',  in. —  if  in.     II,  logo,  ioSq,  io(S8  (1730,  173 1-2,   1733-4). 

n^yj-  "  Ki-hiN.MHisThR"  K1LIKHS  with  slender  stem  and  graceful 
profile;  on  the  rim  are  minute  figures  in  black  on  the  red  ground, 
as  follows: —  173s,  on  one  side  a  doe,  on  the  other  a  man  hurling 
a  spear;  173(',  on  each  side  two  boxers;  1737  (fragmentary), 
two  runners.  Hs.  3I  in.,  3',  in.,  i^  in.  C>'prus,  p.  41  1, 

tig.  31  (1730).  II.  1094-5  (1736). 

1738.  .XiTic  Bl.ack-hglrhd  K^t.ix,  painted  with  a  pair  of  c\es 
on  each  side,  between  which  are  Dion\siac  scenes;  within  the 
k\lix  is  a  s;it\r;  fair  work  with  white  and  red  details. 
H.  }  A,  in.  1 1,  1007. 

•739-4''-     K'lLiKLs  of  common   fifth  century  fabrics;    1739  a,   b, 

294 


HELLENIC    AGE 

two  examples  each  with  a  band  of  black-figured  palmettes;   ^)  ^" 
1740  entirel}-  co\ered  with  black  glaze.  Hs.  ^l  in. —  2^  in.   |'\^ 

1 1,  1093  (1739).  C,D,H 

1741-2.  Skyphoi  with  black-figured  paintings:  1741  has  a  Diony- 
siac  scene  on  each  side,  between  pairs  of  sphinxes:  on  1742, 
on  each  side  between  a  pair  of  palmettes,  a  \outh  stands  op- 
posite to  a  seated  girl  who  pla\s  the  l\re.  Hs.  5 1  ii 
in.,  3I «  in.  II,  1099  (1741). 

1743-6.  Lhkythoi  of  common  o\oid  form  and  \'ery  careless 
draughtsmanship:  the  representations  are  as  follows:  — 

1743,  a  female  image,  holding  branches,  stands  between  two 
kneeling  warriors  who  hold  torches.  H.  On;  in.       II,  1105. 

1744,  n\'mph  (?)  between  two  sat\-rs.         H.  5^  in.        II,  1 102. 

1745,  three  seated  figures.         H.  64  in. 

1746,  lekxthos;  a  sphinx  stands  between  a  woman  who  holds 
a  distaff,  and  a  man  holding  a  long  torch;  on  the  neck  is  a 
cock.     Hs.  6^  in. — 4^  in.  II,  iioc. 

1747-8.     Black-figured  Vashs  with  white  ground  on  the  body. 

1747,  alabastron:  a  sat}'r  pursuing  two  nx'mphs;  1748,  tall 
lekythos,  with  palmetto  band.     Hs.  6i',j  in,  3  ,''■,■,  in. 

II,   1 103-4  (1747)- 

ATTIC    RHD-HGURED    VASHS 

1749.  pKACMbNT  or  A  LARGE  Vash  showing  the  upper  part  of  a 
man  leaning  on  a  stick,  and  the  arm  and  hand  of  two  other 
figures:  tine  st\le,  about  4S0  B.  C  II.  4  r'',;  in. 

17tO-().  Other  Vases  of  Poor  Stvll.  :  1750,  k\-lix:  three  N'ouths 
con\ersing;  1751,  amphora:  a  girl  running,  between  foliage 
spra\s;  1732,  pelike:  female  head  between  palmettes;  1753-5, 
Iek\thoi:  with  female  head  (1753),  palmetle  (1754),  i^ain 
band  (1755);  I75(),  lampfiller:  rough  scrolls  on  the  shoukler. 
lis.    (-)},    in. —  2 ,',;     in. 

1757.  I-AMASTic  \'ase,  with  black  gla/eti  ne^k  and  hamlle  like 
a  lekxthos,  hut  the  bod\-  is  modelled  like  an  almond  in  its 
shell,    and    left    red.  H.    4  in.  II,  i  loi. 

DE.CADENT    SIYLE'-    Ol      III  1-.     lolklll     AM)     I  1 1 1  K 1 )    ClNIl   Kll> 
175<S-62.        N'asES    Willi    1)1. ACK    (iLA7l:    AM)    I  )  I  COR  \l  K  )\    IN    Willi!-: 

AND    Kld:    two-handled    cups    with    wrealh    of    \ine    clusters 
295 


THH    COLLHCTION    OF    IMPORTHD    VASES 

Wall  (175^-9)    lek\-th()S  (1760),    and   hantlielcss  bottle  (1761)   with 

Cases  white  network;  lek\thos  (i7()2)  with  black  network  and   red 

(J  1) '[.  dots.  Hs.  8J  in. —  2^  in.  11,  1092(1758). 

i7()3-cS.  \'asi:s  with  Black  Cji.azi-.  anu  Siamim-.u  Orna.ment. 
1763,  two-handled  bowl;  1764  one-handled  bowl;  1765-6, 
paterae;  i7()7,  one-handled  cup  with  heavy  rim;  1768,  lamp- 
filler.  ()nl\-  1765-6  have  the  stamped  ornaments;  the  rest  are 
plain.     H.  3^  in.  —  1  in. 

1769-70.  \'ashs  with  Black  Glazk  and  Ribbed  Bodies:  1769, 
tall  oinochoe  with  high  handle  and  slender  body;  1770,  am- 
phora with  red  and  white  painted  wreath  on  the  shoulder. 
Hs.  loi',,  in.,  8.J  in.  II,  i  107  (1769). 

1771.  Bowl  and  C^ovhr  in  late  light  ware,  with  olive  wreath 
and  stripes  in  black  glaze.     After  300  B.  C.  H.  3  i',i  in. 

1772.  Cj,ay  Bell  w  ith  Clapper  in  coarse  late  fabric:  not  (]\  priote 
but  comparable  with  the  bells  of  Painted  White  Ware  741-2 
in  Wall-Case  21.         H.  2i  in. 


296 


THE  COLLECTION  OF 
INSCRIPIIONS 


FHE    COLLHCTION   OF    INSCRIPTIONS 


F1\'E  s\'stems  of  writing  met  in  the  cities  of  C\'prus:  a  linear 
script  derived  from  the  Minoan  picture-writing;  the  cunei- 
form script  of  Babxionia,  represented  bv  Sargon's  monu- 
ment at  Kition,  and  by  a  few  inscribed  c\iinders;  the  Phoe- 
nician alphabet;  the  Greek  alphabet  and  its  later  Roman  deri\'ative; 
and   a   sxilabic   script  peculiar  to  (^\prus  :tse!f 

The  Cxpriole  examples  of  Minoan  script  are  \er\'  rare,  and  are 
unrepresented  in  this  (Collection.  In  spite  or  general  conformitv 
with  the  better  known  \arieties  in  Crete,  the\'  show  a  rather 
marked  difference  of  sl\le,  the  strokes  being  neither  traced  with 
a  point  as  in  Cretan  script,  nor  \et  simpl\-  impressed,  as  in  cuneiform 
writing,  but  rather  gashed  or  incised  as  if  with  a  knife  or  other 
sharp-edged  instrument.  The  same  incisixe  handling  is  seen  in 
the  single  characters  inscribed  on  \ases  of  W'heelmade  Ri^'d  Ware, 
^75-^79,  in  W'all-CCase  11.  Some  of  these  signs  are  identical  in 
fcjrm  with  characters  in  the  (C\priote  s\llabar\\  but  the  \ases 
themselxes  are  not  cerlainh  of  C]\priole  make.  The  signs  on 
these  \ases  were  cut  in  the  soft  cla\  before  firing;  but  ihe  (Cxpriote- 
looking  characters  on  the  (C_\pro-.M\  cenaean  \ases,  4^  in  Wall-Case 
12,  and  j[]>>  in  floor-Case  111,  are  inciNed  afterwards  in  ihe  hard 
surface  of  the  finished  \ase.  lor  these  incised  signs  in  detail,  see 
the  .Appendix,  \os.   ^7^  If..  4^..}^'"!. 

The  Phoenician  inscriptions  in  the  (lolleclion  ;Lre  lor  the  most 
Piirt  of  the  la[iidar\  lorms.  mature  and  com(iK'Iel\  simplilied,  which 
are  characteristic  of  the  lourth  ci'Uturv  :  but  sor.ieof  the  siiort  ones 
painted  on  \ases  of  earlier  stxK's  >how  more  itrimiti\e  forms  which 
^.onnect  these  letters  with  characters  in  the  .Mino:in  s\stcm.  1  hese 
sujiport  the  \"iew,  nou  widrh  held,  that  the  I'hoiMiician  alphabet 
has  been  selected  ami  siuxiali/ed  Iro.n  ;i  more  uipious  s\  stem  o| 
Lhara^ers.  to  suit  .Semitic   s[H'ech.  with    its   ^reat    range  of  ^onso- 

2<y) 


THE    COLl.liCTION    OF    INSCRIPTIONS 

nanls,  and  its  peculiar  s\steni  of  xocalic  inflection,  which  made  it 
ahiH)st  necessar\'  to  t)mit  the  \o\\els  in  writing,  if  the  general  drift 
of  a  sentence  was  to  be  apprehended  at  sight. 

I'he  Greek  inscriptions  in  the  Collection  are  also  all  of  late  date, 
and  show  few  local  peculiarities.  The  Greek  alphabet  indeed 
clearl\'  took  shape  quite  to  the  west  of  C\'prus,  and  without  assis- 
tance from  the  C\priote  Greeks.  It  is  probabl\'  another  descen- 
dant of  the  .Minoan,  ckisel\'  allied  to  the  Phoenician,  but  specialized 
to  suit  Indo-Kuropean  speech,  with  its  simpler  consonantal  scheme 
and  vowels  all-important  both  in  stem  and  in  inflection. 

The  C\priote  s\llabar\'  needs  fuller  description.  It  consists  of 
nearl\'  si.\t\-  characters,  each  representing  not  simpl\-  a  consonant, 
but  a  sxilable,  like  ka.  le,  pi,  lo,  and  so  forth:  in  addition,  there  are 
separate  signs  for  the  fi\e  principal  xowels,  for  \a  and  \e,  and  for 
the  doublx'-consonantal  xc.  But  as  a  complete  s\  llahar\-  represent- 
ing all  vocalic  \alues  of  all  consonants  (ba,  pa,  fa;  be,  pe,  fe;  and 
so  on)  would  ha\e  been  incon\enientl\-  large,  a  perilous  econom\- 
made  shift  with  the  same  sign  for  ta,  da,  and  tha,  for  pa,  ba,  and 
pha,  and  for  ka,  ga,  and  kha,  and  similarl\'  for  other  \ocalic  \alues 
of  these  groups  of  consonants:  Aphrodite,  for  example,  was  written 
a.  po.  ro.  ti.  te,  and  Paphia  pa.  pi.  a.  Double  consonants,  and  final 
consonants,  which  are  numerous  in  Greek,  had  to  be  represented 
bv  two  or  more  s\llables;  the  name  Stasikrates,  for  example,  b\' 
sa.  ta.  si.  ka.  ra.  te.  seand  the  Greek  basileus.  "king,"  b\'  pa.  si.  le. 
Nc.o.se.  When  it  is  added  that  several  of  the  commoner  signs  closel>' 
resemble  one  another;  that  the  forms  varied  from  cit\'  to  cit\'; 
that  the  (Cypriote  dialect  had  its  own  marked  peculiarities  of 
structure  and  pronunciation;  that  the  inscriptions,  though  usuall}' 
written  from  right  to  left,  are  sometimes  from  left  to  right,  and 
sometimes  alternatelx';  and  that  the  stone  cutters  were  often  careless 
and  sometimes  almost  illiterate,  the  difficulties  of  decipherment  are 
seen  lo  be  great,  and  the  large  proportion  of  uncertain  readings 
is  explained,  if  not  excused. 

But  not  all  inscriptions  in  the  (~\pri()te  characters  are  capable 
ot  being  read  in  Greek;  and  this  is  not  solel\'  due  to  careless  cutting 
or  spelling,  ^'el  in  no  case  do  the  non-Cjreek  inscriptions  seem  to 
contain  Semitic  words.  .A  \cr\'  few,  on  the  other  hand,  ha\'e 
alread\'  been  shown,  with  much  probabilit\',  to  contain  forms  and 
phrases  which  suggest  that  a  third  language  was  in  use  in  C^\"prus 
in  historic  times.  If  this  is  so,  it  would  be  natural  to  suppose  that 
it   would   be   the   pre-Hellenic   and   pre-Phoenician   speech   of  the 

300 


THE    COLLHCTION    OF     INSCRI P  llONS 

aborigines,  and  that  it  might  be  related  to  the  ancient  languages 
of  the  Asiatic  mainland  north  and  west  of  Semitic-speaking  S\ria. 

All  the  Cypriote  characters  are  linear,  composed  of  from  two 
to  six  or  more  strokes,  straight  or  slightlv  cur\ed.  Ihev  are 
clearly  simplified  from  pictorial  symbols;  though  it  is  seldom  ob- 
\ious  what  thev  represented  originallv.  A  few  resemble  Greek  or 
Phoenician  letters  in  form,  and  some  in  sound  also.  A  few  others 
recall  Minoan  signs,  and  some  have  been  compared  with  cuneiform 
groups  and  with  Hittitc  hieroglyphs.  Some  of  these  signs  are  found 
on  objects  of  earl\'  date,  like  the  Late  Bronze  Age  vases  375  fT. 
434,  438  already  noted;  one  short  inscription,  on  the  engra\ed 
L\'linder  431  i,  shows  unusual  and  clcarl\-  immature  \arieties;  and 
a  few  more,  on  Nases  of  the  seventh  and  six  centuries,  like  481 
in  Wall-Case  13  and  the  alabaster  \ase  1659  in  Wall-Case  74,  show 
the  sxilabary  alreadv  full\-  dexelopcd.  But  mosi  d  the  inscrip- 
tions, in  this  Collection  as  elsewhere,  belong  to  the  fifth  and  fourth 
centuries:  a  few  ma\'  be  even  later  than  this,  to  judge  from  the  st\ie 
of  the  objects  on  which  the\'  are  cut.  But  the  use  of  the  Creek 
alphabet  spread  rapidl\-  after  the  annexation  of  (]\prus  to  Plg'.pt, 
and  seems  to  ha\'e  superseded  the  s\ilabar\'  except  perhaps  for 
sacred  uses  at  a  few  great  sanctuaries. 

The  rarit\'  of  inscriptions  in  the  (^xpriote  s\ilabar\'  in  the  earlier 
periods,  and  their  sudden  frequenc\'  later,  is  not  eas\'  to  explain. 
I'he  nearest  analog\'  is  offered  b\'  the  l.\dian  script,  which  becomes 
common  in  the  same  wa\'  about  the  end  of  the  fifth  cenlurw  Two 
circumstances,  however,  ma\'  be  noted.  Our  e\idence,  apart  from 
a  few  vases,  coins,  and  gems,  is  confined  to  inscriptions  on  stone; 
but  the  forms  of  both  the  C\priote  and  the  l.xdian  characters 
suggest  that  lhe\-  were  de\eloped  among  carxers  on  wood;  and 
the  date  at  which  both  scripts  were  first  commonlx'  transferred  to 
stone  coincides  with  a  marked  reaction  against  (ireek  aggression 
in  man\-  Persian  pro\inces.  It  is  therefore  not  unlikel\  that  local 
ambition  ma\-  ha\-e  adopti'd  now,  lor  public  monuments,  a  s\  iiibol 
of  nationalism  hitherto  mainl\-  used  lor  prixale  and  ephemeral 
records. 

PHOI-.NICI AN    I.XSCKIPrioNS 

.Most  of  these  seem  to  be  derixed  from  a  single  site,  a  small  sanc- 
tuarv  of  the  Phoenician  deit\-  I-,shnuiii-.Mel(|arl  h  which  occupies 
the  low  hill  called  liatsalos  among  the  salt  lagoons  southeast  of 
ancient  Kition.  Subseiiiieiit  eXia\ation  on  this  site  in  iS().|  u-- 
vealed    the    foundations   ol    a    sniall    IniiKiiiig,    prob.ibl\     the    shrine 

301 


Wall 


I111-:    colli  (I  ION     Ol      INSCRII'l  IONS 

of  llu'  goJ,  sKindinu  in  a  walled  i.(>urt\ard,  and  \ieided  another 
fragment  of  an  inseribed  bowl  like  iS47-()(),  now  in  the  Ashmolean 
.Museuni  at  Oxford,  a  terracotta  horse  in  snowman-technique,  a 
fra,s;mentar\-  moulded  figure  in  Hellenistic  st\le,  and  some  pieces 
of  Attic  red-figured  p(.)tter\ ,  now  in  the  (^\prus  Museum  (C.M.C^. 
^^(.)o-<<).  But  the  earlier  exca\  ations,  and  subsequent  search  for 
building  stone,  had  remo\ed  or  disturbed  e\"er\thing  else. 

The  inscriptions  are  all  dediicator\  :  most  of  them  are  cut  on  the 
rim  of  bowls  of  whiiL'  or  bluish  marble,  probablx  S\rian:  1844,  1867 
are  on  squared  blocks  of  similar  marble,  probably  the  pedestals 
of  the  \dti\e  otTerings  to  which  the\-  refer. 

iSoi.      DitDiCATioN    OF    Two    OFhhRiNc.s,    on    a    block    of    white 
'--'i^'-'  marble.      "Inthexear     .     .     .     of  King  Pumi-\athon,  King  of 

'  Kition  and   Idalion,  son  of  .Melek-xathon,  king  of  Kition  and 

Idalion,  these  two  otTerings,  which  .-\hd-elim,  son  of  Ebed- 
melqarth,  son  of  Ebed-reshef,  ga\e  and  dedicated  to  his  lord 
Eshmun-melqarth."  .Melek-\alhon  was  king  from  392  to 
^(12  B.  C;    Pumi-\athon    from    362   to    312  B.  C.  H.  5  in. 

W.  ()  in.  (Aprus,  ix,  2.  C>)rpus  Inscriptionum  Semiti- 
carum,   I,  pp.  44-6.  No.  14.  Ill,  cxxii,  1. 

1S02.  DtDiCAiioN  OF  .AN  Offering:  on  a  block  of  white  marble, 
nearh'  cubical :  "  Hanan-baal  ga\e  .  .  .  which  he  vowed  on 
behalf  of  his  son."  H.    3   in.     W.   3   in.         C\prus,  ix,  4. 

C.  1.  S.,  15.  Ill,  cxxii,  2. 

1803-24.  Dhdications  on  .Marblf  Bowls,  ver\'  fragmentar\-, 
but  sufficient  to  restore  the  whole  formula,  which  was  as 
follows:  "On  the  nineteenth  da\'  of  the  month  ...  in 
the  \ear  I\'  of  the  King  .Melek-\-athon  (1806-8),  King  of 
Kition  and  Idalion  (1803),  F^bed-melqarth  (1810)  son  of  Ebed- 
adoni  (1S04)  \()wed  an  image  (181^)  or  this  gift  (1822)  which 
he  ga\e  to  his  Lord  (i8i())   l-'.shmun-melqarth.      .\la\-  he  bless 

(I8I3-14)-" 

Not  all  the  bowls  bore  the  full  formula:  1804,  for  example. 
reads.  .  .  .  "son  of  bbed-adoni  to  his  Lord  F.shmun-mel- 
qarth  .  .  ."  Others  added  a  description  of  the  donor 
fi-'^ioQ).  .  .  .  "  Reshef-\athon,  interpreter  of  throne<. 
to.     .  ."         CA'prus,  ix,  X,  xi,  xii.     (].  I.  S.,   10  —  36. 

Il.cxli,  1031,  III,  cxxii,  3-10;  cxxiii,  11-20. 
Other  inscriptions,  on  \-ases  of  alabaster  and  claw  are  owner's 
marks  or  memoranda,  or  \er\'  brief  formulae  of  dedication. 

3(.2 


Wall 


PHOENICIAN     INSCRIPTIONS 

1823.     Alabastkr  Vase  of  unusually  large  size.     The  neck  seems    ^'^^H 
to  have  been  cut  away,  and  the  h'd  which  is  preserved  with  it    ,  '^^ 
does  not  belong  to  the  body  for  certain.      It  is  inscribed  with 
the  numeral  "100,"  and  a  word  of  uncertain  meaning,  which 
recurs  on  1829.         H.  lof  in.         C\prus,  xii,  25. 

1 1,    1048;  III,  cx.xiii,  22. 

1826-30.  Amphorai  of  unpainted  potterx ,  such  as  were  commonI\- 
used  for  storing  wine  and  oil,  and  are  often  found  in  tombs. 
The  forms  vary,  and  ma\'  be  dated  approximate!}'. 

1826,  of  the  seventh  or  sixth  centur\',  is  inscribed  "M\'  Lord." 
The  bell-cover  preserved  with  it  probably  does  not  belong  t(j 
it.         H.   1   ft.    1O4  in.         C\prus,  ix,  7.  Ill,  cxxiii,  26. 

1827,  of  the  sixth  or  fifth  centurx',  inscribed  "The  Lord  of 
Weight  gave  ;  he  heard  me."  H.  i  ft.  lof  in.  (^\  prus, 
X,  8.  II,  1049;    111,  cxxiii.  23. 

1828,  of  the  fourth  centur\',  inscribed  "M\'  Lord;  m\-  oli\e 
H.  2  ft.  3  in.         C\prus,  xii,  29.  Ill,  cxxiii,  27.    Cas 

The  two  inscribed  jars  which  follow  are  no  longer  recognizable 
with  certainty  1829,  of  the  fourth  cenlur\',  inscribed  "100" 
as  on   1825.  Ill,  cxxiii,  28. 

1830,  fragmentar\'  with  a  long  inscription,  text  cjuite  illegible. 

Ill,  cxxiii  (text). 

For  other  objects  with  Phoenician  inscriptions,  see  479,  480  (W'aJl- 
C]ase  13),  775  ((k>ntre-Case  VIII),  and  the  comments  thereon  in  the 
Appendix. 

CYPRIOTE    INSCRll'I  IONS 

l-Or  convenience  of  reference,  these  inscriptions  are  here  arranged 
in  the  geographical  order  in  which  the\-  stand  in  Deecke's  account 
of  them  in  (>)Ilitz,  Samnihins.  der  Grirrhischen  Dialckt-I )iscbrijtt')i 
I  (Gottingen,  1884).  The  large  series,  ascribed  to  the  site  at 
Golgoi,  ho\\e\er,  has  been  reser\'ecl  till  last,  and  rearranged  so  as 
to  bring  objects  of  similar  purpose  or  st\le  into  relation  with  one 
another.  It  must  be  remembered,  howexer,  that  the  evidence  for 
the  place  of  disco\er\-  is  of  the  same  tiualil\-  for  inscriptions  as  for 
all  other  classes  of  objects  in  the  Collection,  except  where  the 
localitv  is  clearl\-  indicated  in  the  inscription  itself. 
The  full  text  of  e\er\-  inscription,  so  tar  as  il  can  be  deciphered,  is 
gi\en  in  the  .Appendix;  but  onl\  those  are  described  in  detail  here 
which   are  either  translatable  with   certaint\,    or    otherwise    note- 

30^ 


nil-.   c;()i.i,i;(, I  ION   oi-   inscrii'i  ions 

wortln  b\  rca^cui  of  their  maU'rial  or  st\Ie.  In  the  absence  of 
other  iiuliealion  all  nia\  he  assumed  lo  be  of  limestone;  and  unless 
otherwise  deseribed,  to  be  on  plain  rectangular  blocks  devoid  of 
ornament,  probabh'  the  bases  of  statues,  or  other  votive  ofTerings. 

1NSc;K1P1  IONS    I-K(JM     KH'iTKOI 

W.ill    t83i-42.      Stom:    Boxts   diiDicathd    ro   thh    I,ady    of    Papiios, 
^•'i^i-'  of  the  same  form  as  i()62-()  in  the  (~(j||ection  of  Stone  Objects. 

■  These  are  fragmentar\':  some  of  them  have  been  exposed  to  fire; 

lhe\'  ma\'  ha\e  been  used  as  incense-burners. 
!(S5i  is  nearh'  perfect,  and  has  a  complete  inscription  in  three 
lines,  as  follows: — "1  am  (the  gift)  of  Prototimos,  the  priest  of 
the  Paphian;  and  he  offered  me  to  the  Paphian  Aphrodite." 
H.  3  in.     L.  6|  in  III,  cxxiv,  i. 

i(S^2  is  fragmcntarx'  and  the  inscription  is  broken,  but  the 
sense  can  be  restored,  as  follows:  "1  belong  to  the  Paphian; 
and  Onasithemis  dedicated  me."  H.  3  in.  Ill,  cxxiv,  4. 

1833,  also  fragmentar\',  is  clearl\'  the  gift  of  the  same  person 
as  1832;  though  onl\'  two  s\ilables  of  his  name  are  preserved. 
L.  3^  in.  Ill,  cxxiv,  8. 

18^4-42  preserve  onl\'  fragments  of  the  same  formula:  "I 
belong  to  the  Paphian."  1837,  1842  are  not  on  stone,  but  on 
broken  vessels  of  claw       111,  cxxiv,  2-3,   5-7,  9-1 1;  cxxv,   i. 

INSCRIPIIONS   FROM    KOLKLIA    (OLD   PAFHOs) 

1843.  STATLHrXH     D1:DICAT1-.U     TO     THF     Goi:)     VvTTH     TwO     RlOHT 

Hands.  The  inscription  on  the  upper  side  of  the  limestone 
base  (on  which  onl\'  the  feet  of  the  figure  remain)  is  in  three 
lines:  "  Hekotos  set  (me)  up  to  the  Ciod  of  the  Two  Right  Hands, 
in  good  fortune." 

The  title  of  the  deit\'  is  unusual.  Probabh'  it  is  suggested 
b\'  some  well-known  statue  of  the  t\pc  discussed  in  relation 
to  1092- 1  too  in  which  the  two  common  wa\'s  of  representing 
a  Sun-  or  Thunder-God,  as  archer  or  as  club-man,  were 
combined  in  the  same  figure,  and  gave  the  impression  of  a 
deit\'  who  fought  for  his  worshippers  with  both  hands  and 
both  weapons  at  once.  The  name  of  the  dedicator  also  is 
unusual;  it  ma\'  be  intended  for  Hekatos.  L.  8.',  in.  W.  7 
in.  G\prus,  p.  207.      Ill,  cxxv,  4. 

1844.  SiAriT-.    FV\^i.    with    a    large    socket    in    the    middle.      'The 
inscripti(.)n  is  on  the  upper  side  in  three  lines,     "Gillikas  the 

304 


INSCRIPTIONS    FROM    KOUKLIA 

son    of    Timodoros    consecrated.     .     .     ."      The     formula     is   \yall 
incomplete,  and  the  end  uncertain.     The  names  Gillikas  and      ^^^ 
Timodoros  are  found  in  other  Cxpriote  inscriptions.         L.  8| 
in.     \V.  10  in.  Ill,  cxxv,  6. 

INSCRIPTIONS    FROM    THE    NEIGHBOURHOOD    OF    KURION 

184,.  Statuette  dedicated  to  the  God  of  the  Wine-Press,  in 
the  same  style  and  dress  as  1358  in  Centre-Case  B.  The  inscrip- 
tion is  on  the  front  of  the  base  and  is  incomplete.  Said  to  be  from 
the  sanctuary  of  ,A.pollo  Hvlates;  but  the  epithet  "Lenaios" 
is  given  elsewhere  (at  Athens,  for  example)  to  the  wine-god 
Dionysos,  and  its  occurrence  here,  on  a  figure  said  to  be  from 
a  sanctuarx-  of  Apollo,  raises  doubt  as  to  the  accuracy  of  the 
record.         H.  i  ft.  4I  in.  1,  Ixxxv,  564;  111,  cxxvii,  5. 

1846.  xMale  Votary  in  the  same  Oriental  dress  as  1231,  1350 
in  the  Collection  of  Sculpture,  and  221)9-2301  in  that  of  Terra- 
cottas; but  on  the  smaller  scale  of  this  figure,  the  details  are 
not  so  clear.  The  inscription  is  cut  on  the  front  of  the  base, 
below  the  feet  of  the  figure,  and  seems  to  have  lost  the  first 
and  last  of  its  characters.  It  is  therefore  not  to  be  read  with 
certaint\';  but  it  appears  to  contain  two  personal  names: 
Meister  suggests  "Philippa,  wife  (or  daughter)  of  Diandros"; 
the  votary,  however,  is  certainly  male.  Said  to  be  from  the 
sanctuarx-  of  Apollo  Hylates.         H.  13!  in. 

I,  Ixxxv,  562;  111,  cxxvii,  6. 

1847-Q.  Temfle-Boys  like  1204-22  in  the  Collection  of  Sculpture. 
The  inscription  runs  round  the  shallow  base  on  which  the  crouch- 
ing figure  is  placed,  and  is  much  worn  in  every  case;  but  on 
1847  the  formula  "dedicated  this  to  Apollo"  is  legible,  and 
on  1848  the  phrase  "this  to  Apollo  the  God,  "  in  a  long  sentence, 
the  rest  of  which  is  not  intelligible:  on  1840  onl\-  a  single 
character  remains. 

The  style  of  the  three  figures  varies  in  detail.  The  draper\' 
of  1847  has  fine  cross-tooling,  to  render  the  "crinkled"  texture 
which  is  found  on  man\'  statuettes  of  the  fifth  and  fourth 
centuries  B.  (>.  The  head  of  1848  is  separate  and  does  not 
belong  to  the  bodv  for  certain.  The  draper\-  of  1848  is  rendered 
in  shallow  wav\-  folds,  cut  with  a  knife;  while  i84()  has  onl\' 
a  few  stiir  parallel  groo\es.  Both  are  certainl\-  later  than 
1847,  and  ma\'  be  Hellenistic  or  even  later  so  far  as  llu'irst\le 

305 


2.  ^4 


nil-     COI.l.HCTION    Ol-     INSCRII'TKINS 

is  LCMKXTiicd:  bill  llu-  head  of  1S4S  ina\  he  as  oarl\-  as  tht 
tnurth  centurw 

All  ihrcc  ti.mircs  are  said  lo  have  been  found  at  the  sanctuarx' 
of  .\pollo  li\lates.  like  others  of  the  same  t\pe  in  the  Collec- 
tion. But  the  same  t\  pe  occurs  also  at  V'oni,  Kh\troi,  Tamas- 
sos.  anil  in  other  sanctuaries;  so  that  the  attribution  is  not 
conclusive.  H.     si  in.    —  4I  in.  Ill,  cxx\ii,  8,  2-4,  7. 

Wall    iStO.     ST.\Tri->B.\SH,  with  dedication  on  the  front,  in  four  lines, 
Cases  of  which  the  first  and  last  are  much  damaged,  "  Aristo(gonos), 

son  of  Onasias,  ha\ing  made  a  \ow  on  behalf  of  his  child, 
dedicated  (me)  to  Perseutes,  in  good  fortune.'  The  name  of 
the  dedicator  is  not  clear;  it  ma\-  be  Aristokhon  or  Ariston. 
The  name  Perseutes  seems  to  be  the  name  of  a  deity,  as  in 
two  Greek  inscriptions  from  Kurion  (C^\prus,  p.  425.  Nos. 
^0,31).  L.    I    ft.  2I   in.     W.  <S]    in.  Ill.cxxvi,  4. 

iSsi.  Dedication  to  .•\poli.o(?)  in  three  incomplete  lines,  on  a 
fragment  of  limestone.  W.  14.I  in.  Ill,  cxxvi,  2. 

i8s2.  St.\tl:k-B.\sh.  with  a  \er\'  rudel\-  cut  inscription  containing 
the  personal  name  Tisandros.  Said  to  ha\'e  been  found  in 
the  "treasure-chambers"  at  Kurion.  I,.  11  in.      Ill,  cxxvi,  3. 

INSCRIPTIONS    FROM    I.ARNACA,    P'l  LA,    AND    OTHHR    LOCALITIES 

The  inscribed  objects  "from  Golgoi"  (which  follow  next  in  Dcecke's 
list)  are  described  below  (18^7).  'i'he  tile  i8s^  is  assigned  to 
Kurion  b\'  Cesnola  ((^\"prus,  \i,  33)  but  to  Kition  (Larnaca)  b\-  the 
.Atlas  and  the  Handbook.  The  fragmentarx'  bowl  1854  from 
P\ia  ma\'  perhaps  be  from  Lang"s  exca\ation,  like  1240  in  the 
(Collection  of  Sculpture. 

i8s^  (Cla'i'  Tile,  rectangular  and  slightl\'  conca\-e,  inscribed 
with  a  finger,  while  the  cla\-  was  soft,  with  two  characters 
which  probably  represented  the  maker's  or  owner's  name. 
1..  I  ft.  --,]  in.     W.  12J  in.  II,  cxlii,  1058;  III,  cxii,  5. 

18^4.  Part  of  a  Larc.f:  Stone:  Bowl,  like  1380  in  Floor-Case  G 
and  1S63-4  in  the  Collection  of  Inscriptions;  said  to  be  from 
P\ia,  like  1240  ff.  The  inscription,  "Timokretes  dedicated  to 
(.\pollo)  .Magirios"  runs  in  a  single  line  round  the  vessel  a 
little  below  the  rim;  but  there  are  other  signs  written  obliquel}' 
to  the  right  and  lower  down,  which  ma\'  be  the  far  end  of 
the  same  line  returning  round  the  bowl.  The  name  Magirios  is 
known  as  a  title  of  Apollo  from  a  dedicated  altar  found  b\- 

306 


INSCRIPTIONS    FROM    LARNACA 

Lang  at   P\la   (Schmidt,    Idalion,  p.   66;   Deecke,    120);  it   is   ^^'^i" 

probabh'  one  of  the  numerous  attempts  to  explain  to  Greek      "^^^^ 
...  ^'  i'  4 

ears  the  Phoenician  title  Melqarth;  see  p.  127  above.         H.  8 

in.  Ill,  cxxxix,  i. 

1855.  Clay  Lamp  in  the  form  of  one  of  the  \oti\e  bowls  which 
are  common  in  C\'priote  sanctuaries  (1380  in  Floor-Case  G 
and  1854  above).  Behind  the  bowl  rises  a  high  vertical  handle 
perforated  at  the  top  and  modelled  in  the  grotesque  figure  of  the 
Eg\ptian  deity  Bes,  who  stands  as  if  to  recei\e  drink-offer- 
ings placed  in  the  bowl.  The  bowl  has  been  adapted  to  serve 
as  a  lamp  b\'  the  addition  of  a  nozzle  for  two  wicks,  of  the  same 
fourth-century  type  as  2696-2705  in  the  Collection  of  Lamps. 
There  is,  however,  no  reason  to  suppose  that  the  lamp  is  ncccs- 
saril\'  as  late  as  this;  the  figure  of  Bes  looks  like  Orientalizing 
work  of  the  sixth  century.  The  cla\-  is  reddish,  and  details 
are  added  in  black  and  red  paint.  On  the  rim  of  the  bowl 
is  the  name  of  the  owner  or  dedicator,  "  Philotimos,"  impressed 
in  the  soft  cla\',  before  firing.  Said  to  ha\e  been  found  in  the 
Karpass  promontorw  H.  9}  in.        1 1,  1058;  1 1  l,cxl,  14. 

1856.  Palette  or  Whetstone,  a  rectangular  plaque  of  fine  hard 
reddish  sandstone,  bevelled  on  one  side,  and  with  tw^o  polished 
groo\es  on  the  other.  The  inscription  runs  in  several  lines 
along  the  bexellcd  side,  but  onh'  a  few  signs  are  now  legible  at 
one  corner;  the\'  \ield  no  sense  as  \et.         L.  4§  in.     W.  2-]  in. 

1 1 1,  cxxxix,  3. 

INSCRII'TIONS    FROM    COLC.CM    M:aR    ATHHINOU 

Though  most  of  these  inscriptions  repeat  formulae  appropriate 
to  one  and  the  same  sanctuar\-  of  .\pollo,  others  make  mention  of 
other  deities;  and  others  do  not  seem  at  first  sight  to  belong  to 
a  sanctuarx'  at  all;  for  instance,  1857  is  certainl\'  a  tombstone,  and 
1897  seems  to  hv  the  boundar\'  stone  of  a  Inirial  place  or  other  plot 
of  land, 

1857.  T'oMBSTONH  OF  .Ak isToK R I  Ti  s,  of  wliich  onl\-  the  long 
pediment  is  preserxed.  In  the  middle  stand  two  mourning  C.i 
women  with  upraised  hands.  On  rilhiT  side  a  lion  faces  '• 
inward,  crouching  on  its  \\>n-  fret.  Then  in  the  r>uter  angles 
at  each  end  stands  a  \i>un^  man,  011  a  slight  l\'  luwi'r  lewT 
Lhe  inscription  runs  in  one  line  aloii^  the  cornice  below  the 
lions:  {he  characters  are  rouglil\-  ait,  but   clear  excpt   where 

307 


Wall 


^ 


THI-:    (.OI.Ll-.Cl  ION    Ol-     INSCRIPIIONS 

Wall  tlu'\-  haw  sutTcrcd  from  exposure.     "I   am  Aristokrctes,  ami 

^'•>st.'  ni\-  brothers  sol  mo  iiii  in   niemor\'  of  the  "jjood  deeds  which 

1  e\er  well  did  an\\\  lu're."  Probabl\'  the  pediment  crowned 
a  niche  or  portal  of  the  usual  form  containing  a  figure  of  the 
deceasetl,   wlio  spoke   thus   in    his   proper   jierson.  L.   4   ft. 

H.  n\  in.  i,  lxxx\-,  ^()];  III,  cxxxvii,  1-5. 

i8t8.  \'oti\  1-:  I'ooTsTooL  or  Sti;i>  of  a  Thkonh,  probabh'  part 
of  the  same  monument  as  137^.  On  the  \ertical  face  is  a 
chimaera  carved  in  low  relief  within  a  panel  between  two 
rosettes,  with  details  in  red  paint.  The  st\le  is  too  rough 
to  permit  a  precise  dating;  hut  the  treatment  of  the  chimaera 
suggests  the  latter  part  of  the  sixth  centurw  On  the  smooth 
upper  surface  (-■{  the  step  is  the  inscription,  cut  in  ele\'en  lines, 
the  first  of  which  is  nearest  to  the  edge  of  the  step.  Each 
character  occupies  a  separate  compartment  of  a  rectangular 
framework  of  crossed  lines,  roughly  scratched  on  the  stone; 
and  there  are  traces  of  another  such  diagram  adjoining  it  to 
the  left;  probahh'  the  remains  of  an  older  inscription  of  the 
same  kind.  The  onl\'  translation  hitherto  is  that  of  the  late 
Dr.  Meister,  as  follows: — "I,  Oilozama,  wife  of  Philles,  and 
his  wedded  spouse,  bare"  — the  name  of  the  child  is  illegible — 
"m\'  father  and  m\'  mother  are  ali\e  and  well;  1  card  wool; 
1  make  therewith  quickl\'  cloth  with  all  skill;  I  decorate  and 
embroider  sewn  leatherwork."  If  this  interpretation,  which 
is  not  without  difficulties,  be  accepted,  the  embroidercss  is 
jijacing  herself  and  her  art  under  the  protection  of  the  deity. 
L.  2  ft.  4',  in.      B.   11.^  in.         (^\prus,  p.   15c). 

I,  lxxx\,  560;  III,  cxxxi\-,  2. 

1859.  MiNiATL'RH  Altar  with  a  much  damaged  cornice  abo\e, 
and  two  panels  carved  in  low  relief.  ()nl\'  the  right-hand 
half  of  the  stone  is  preser\ed.  In  the  upper  panel  is  a  banquet- 
scene  like  those  on  the  tombstones  1382-5  in  the  (Collection 
ol  Sculpture;  a  bearded  man  in  pointed  cap  reclines  on  a  couch, 
and  seems  to  grasp  the  hand  of  another  person  with  his  left. 
,\bo\e  his  head  is  the  inscription  in  two  lines,  of  which  the 
upper  is  almost  wholl\-  broken  awaw  all  that  can  be  read  is 
the  name  of  the  deilicator  "Anliphamon,  son  of  Oaophas"  or 
Daophantos.  In  the  lower  panel  a  \'oung  man  stands  in  the 
miiidle,  turning  towards  a  large  dog,  which  sits  tethered  to  a 
p(jst.     '1  he  st\  le  (A  the  man  in  the  upper  panel  resembles  that 

308 


INSCRII'IIONS    FROM    GOLGOI 

of  the  figures  in  the  Banquet-sceni'   lo^o  and  ma\-  be  of  the 
sixth  or  late  seventh  centur\-.       H.  y^  in.      (^\prus,  pi.  xKiii; 

1,  xx\  ii,  <S();  111,  cxx\iii,  2. 

iS6o.  MiNiATLRE  Altar,  with  the  usual  hollowed  top,  and  reliefs 
on  the  front  and  on  one  side.  In  front  two  worshippers  ad\ance 
to  the  right;  both  are  bearded.  The  first  wears  a  short  tunic, 
and  leads  a  ram  b\"  its  horn;  the  second,  who  wears  a  longer 
tunic  with  o\er-cloak,  and  a  pointed  cap,  holds  an  upright 
object  which  may  be  a  bough  of  a  tree.  Below,  on  the  smooth 
plinth,  is  the  inscription,  in  one  line  of  quite  clear  characters, 
which  ha\e  been  read  from  left  lo  right  as  follows: --"  I, 
Pantilos,  bring  this  into  the  sanctuary."  In  the  side-panel 
is  a  banquet  scene  like  that  on  iH^t):  a  bearded  man  reclines 
on  a  couch  and  holds  a  smaller  figure  seated  on  his  knee. 
Below  are  a  dog  and  a  lamb,  very  roughl}'  cut.  H.  q  in. 

Ill,  cxxxi,  ?. 

('S'()i.  Handli  of  a  Ladlh  or  Firb-Shovhl  of  limestone,  like 
i6(St)-qo  in  \\'all-(]ase  75,  ending  in  a  ram's  head  which  looks 
like  fourth-centur\  work.  On  the  side  is  the  dedicat(^r\-  inscrip- 
tion in  worn  a.id  faint  characters,  "Heros  (Eros?)  dedicated 
it   to   Apollo."  I..  Q  in.  Ill,  cxx\ii,  i. 


Wal! 
Case 
3 


iH()2.  ](Hn  ot-  A  SioNi:  (Jii^i  OK  Tkoicii,  h'kc  ]()()2~--,  in  W'all- 
(lase  75,  but  larger,  and  inlended  (to  judge  from  the  iii- 
scriplion)  lo  receive  tlrink-ollfringN  al  a  sanctiiar\-.  I  he 
inscription  is  on  the  front  of  1  lu-  toot  dt'eplv  cut  in  ihree 
irregular  lines,  as  follows:  "/rus'  portion  of  wine  is  three 
iDeasuris."  H.  5  in.  111.  cxxxix,  v 

i<SC)^-4.  Paris  01  Siom  liow  is  of  t  he  s;inn' t  \  pe  as  1  vSd  in  I  lonr- 
(lase  (1.  compare  also  iSs4.  and  1  lie  colossal  bowl  from  ihe 
acropolis  of    \m;ilhns,   now    in   ihr   l.ouvrt-.      Sui  li   bowKwcre 


rill-     (Ol.Ll  (I  ION     Ol 


INSCKIPI  IONS 

1  lu'    "l;i\fr"    in    ihc   court    of 


Wall 

C.ise 

4 


used    lor    riUKil    washings.    I 
Solomon's  1 1'lnpU'. 

iS()^  onl\  shows  1  lu'  louiT  part  of  the  side,  and  a  kind  of  foot 
on  which  is  car\i'd  in  rch'cf  a  doliihin,  amJ  abo\e  it  a  coiled 
snake.  In  front  of  I  he  snake's  head  is  the  inscription,  in 
li\e  lines,  which  seem  to  run  from  left  to  right,  though  the 
characters  face  the  other  \va\  .  The  surface  is  damaged  in 
parts,  but  most  of  the  characters  are  clear;  the  sense,  however, 
has  not  been  made  out.  H.  134  in.     W.  12  in.  C]\prus, 

p.  144.  Doeil  xi,  7,  775  (i<S63).  !,  lxxx\-,  561 ;  1 1 1,  cxxxii,  2. 
iS()4  is  a  smaller  fragment  of  a  similar  bowi :  the  inscription  is 
fragmentary,    roughl\'    cut,    and    unintelligible.  I.,    -j}    in. 

Ill,  cxxxviii,  3. 

186:;.      I'ooT  OF  A  \'ash,  with  a  narrow  stem  broken  awa\'  in  the 

middle   of   its    upper   side.      The   inscription    runs    round    the 

upper  surface;  a   mere  graffito,   imperfect   and   unintelligible. 

I^.  ()J  in.  Ill,  cxxxix,  (). 

1566.  (-HHST  OR  Tkoic;}!,  like  1662-5  in  \\'all-(lase  ~^.  but  withotit 
ornament,   and   incompletelx'   hollowed  out   between   the   feet. 

The  inscription  is  on  the  smooth  upper  member  of  the  front. 
It  records  a  dedication  hv  1  imos  or  1  imo,  son  or  daughter 
of  .\ntiphatos,  to  the  Paphian  (ioddess,  and  seems  intended  to 
be  metrical,  but  presents  some  difficulties  in  detail.  Though 
said  to  ha\e  been  found  at  (lolgoi,  it  resembles  the  incense- 
boxes  iS?,  i-42,  which  are  characteristic  of  the  sancluarx'  of 
the  Paphian  Godeiess  at    Khxtroi.  H.   11',  in.     W.    11',  in. 

1,  xx\ii,  (St  ;  111,  cxxix,   i . 

1567.  I'rao.mi.nt  oi-  a  (lni-.sr  or  iKon^iH,  like  i<S66;  in  similar 
characters   and    workmanship,    but    said    to    be    from    (lolgoi. 

1  he  inscription  is  fragmentarx',  and  onh'  the  word  "to  the 
goLJdess"  can  be  read  with  an\'  certaint\'.         W.  2]  in. 

Ill,   CXXV,    2. 

iH(]S.  1  1  Mi'Li -K  i-coRi)  appai'enth'  of  pa\nients  or  contributions 
b\-  a  number  of  persons;  written  in  fineh  incised  characters 
on  both  sides  of  a  thin  slab  of  limestone,  in  such  a  wa\'  that 
the  top  lint'  on  one  side  continui.'s  after  the  last  line  of  the 
other  when  the  slab  is  turned  oxer.  This  shows  that  the  slab 
was  not  nn'anl  to  be  set  up  like  a  xotixe  tablet  or  a  tombstone, 
but  to  he  stored  lor  reference  in  the  same  wa\'  as  inscribed 
cla\   tablets  of  l^abx  Ionian  or  Alinoan  fashion.      It  is  also  note- 


310 


llli;    (.01  I, HC,  I  ION    0\-     INSCRll'IIDNS 

^'■■'•1  wiirlln    that   llu'  nuiiu'rals  in  this  inscriplion  arc  the  same  as 

lliose  on  ihe  chn'  tablets  in  the  Pahiee  .\rchi\'es  of  Knossos; 
namel\  .  a  \ertieal  h'ne  for  eaeh  unit,  a  horizontal  line  for  each 
ten.  and  a  eirele  lor  a  hundred.  1  he  unit  of  reckoning  seems 
to  ha\e  been  the  stater,  the  Greek  equixalent  of  the  Phoeni- 
cian and  Jewish  shekel,  representing  rather  less  than  half  an 
ounce  of  siher.  If  the  interpretation  of  the  last  words  of  the 
formula  is  correct,  the  paxments  were  for  some  kind  of  per- 
sonal enfranchisement,  perhaps  of  l"emple-Bo\'s  or  other 
ser\ants  of  the  shrine,  or  sla\cs  of  pri\'atc  persons.  H.  4.1 
in.     W.  y.j  in.  Ill,  cx.x.xvi,   2,3. 

The  \()ti\e  reliefs  which  follow  are  all  in  similar  st\le  and  work- 
manship, and  all  but  i86q  are  in  the  same  fine-grained  variet\'  of 
limestone.  The  subjects  represented,  \arious  as  the\'  are,  supple- 
ment each  other,  and  illustrate  all  essential  aspects  of  (~\priote 
ritual  and  worship. 

i86q.  \"oti\h  Relief,  showing  a  seated  deit\'  holding  sceptre  and 
thunderbolt.  Though  the  relief  is  said  to  be  from  Golgoi, 
the  intention  is  clearl\'  to  represent  the  Olympian  Zeus.  Be- 
fore him  to  the  right  stands  a  male  votar\',  playing  the  Ivre, 
and  behind  the  high-backed  throne  a  smaller  \()tar\',  probabI\' 
the  son  of  the  dedicator.  C)\'er  the  small  figure,  in  the  back- 
ground, hovers  a  chariot  drawn  b\-  winged  horses;  the  car  is 
hollowed  out  as  if  to  form  a  socket  for  a  separate  figure  to 
represent  the  driver.  The  stx'le,  though  rough,  is  not  without 
dignit\',  and  the  free  use  of  red  paint  suggests  that  the  work 
is  not  much  later  than  the  fourth  centurw  On  the  broad 
convex  base  below  the  group  is  the  inscription  in  four  lines, 
each  containing  a  hexameter  \erse.  The  reading  and  inter- 
pretation present  man\'  difficulties,  but  the  general  sense  is 
as  follows: 

".\ll  haii: 

"fuit.  Lord,  and  drink.  It  is  a  great  saying;  never 
co\et,  apart  from  the  immortal  gods,  all  things  de- 
sirable unrestrainedlw  For  in  nowise  couldst  th(Ui 
w  ithstand  God,  ()  man,  but  the  mightx'  hand  is  (jod's, 
to  direct  all  things  that  men  ha\e  in  mind. 
".All  hail!" 

The  phrases  of  salutation  stand  outside  the  x'erses,  and  are 
addressed  to  the  reader;  so  also  is  the  greater  part  of  the  text. 

3'^ 


INSCRIPTIONS    FROM    GOLGOI 

Such  admonitions  are  often  substituted  for  pra\er  in  Cjreek 
religious  formulae,  and  illustrate  the  profound  Greek  sense  of 
the  personal  responsibilit\'  of  man  for  the  consequences  of  his 
own  conduct.  The  gods  are  guardians  of  a  principle  of  right 
which  the>'  cannot  alter,  though  it  is  theirs  to  vindicate  it  in 
an\'  wa\-  thc\-  please.  H.  122-in.  L.  i  ft.  4  in.  C^yprus,  pi. 
xlviii.     Doell  xi,  3,  764.  I,  Ixxxv,  559;  111,  cxxx,  3. 

1870.  \'oTi\B  Relikf,  on  a  rectangular  slab  with  two  holes  for  sus-  u-.  n 
pension  at  the  upper  edge.  The  whole  surface  is  occupied  b\-  Case 
an  elaborate  scene  of  worship,  carved  in  ver\'  low  relief.  In  3 
the  upper  right-hand  corner  the  deity  sits  with  an  altar  before 
him,  resting  his  left  hand  on  a  l\Te  b\-  his  side,  and  holding 
out  a  libation-bowl  in  his  right  to  receive  a  drink-ofTering  from 
his  worshippers.  Towards  him  a  file  of  worshippers  advance 
from  the  left;  first  a  man  and  his  wife  with  an  infant  in  arms; 
then  a  bo\'  carr\ing  a  wine-jug,  and  a  smaller  child;  then 
at  a  little  distance  and  lower  down  the  hill,  two  full-grown 
men.  Then  following  them  on  a  lower  level  still,  and  occup\- 
ing  the  left-hand  bottom  corner  of  the  slab,  comes  a  dancing 
chorus  of  three  \oung  men  in  short  tunics,  and  two  women. 
The\-  dance  towards  the  left,  but  one  of  the  women  looks  back 
to  return  the  salute  of  one  of  the  fi\e  bancjueters,  wh(j  fill 
the  right-hand  corner  below  the  deit\  .  The\-  sit  in  a  semi- 
circle face  to  face  with  a  flule-pla\er;  and  on  the  ground  before 
them  is  a  large  jar  of  wine,  within  which  an  amphora  is  painted 
in  red,  with  no  relief  at  all.  There  arc  other  red  details  on 
the  clothing  and  elsewhere,  as  is  usual  in  this  st\le  of  work. 
Rough  as  it  is  in  execution,  the  \igour  and  freedom  of  the  work 
assign  it  to  a  period  not  much  later  than  the  fourth  centurw 
In  the  midst  of  the  banquet-scene  is  the  inscription,  of  onh' 
two  characters;  its  meaning  is  not  clear.  M.  12.1  in.  W.  1  ft. 
64    in.     (^\prus,   p.    149.      l)(jell    xi,    3,    7()().      1,    Ixxxv,    555; 

111.  cxxxiii,  2. 

1H71.  Wvnvi-,  Rhi.iij-,  showing  a  gmup  of  four  jHTsons,  both  men 
and  women  with  one  or  more  childrt'n  in  front,  staiuling  in 
adoration  befort'  a  deit\',  of  larger  size,  who  sits  on  ;i  throne 
and  holds  a  scejilri'.  1 11  front  of  him  is  an  altar,  on  which  is 
a  round  object,  representing  frint  or  a  cake.  In  the  back- 
ground is  a  spreailing  tree.  I  lu-  work  is  poor  ami  much 
deca\e(l,  and  the  st  \  Ic  is  I  I'lleiiist  ic.  I  he  inscription  runs 
in  tw(j  lines  ak^ng  the  lower  edge  of  the  slab  as  follows:  "( )nasi- 

3'3 


Wall 
Case 


Wall 

CasL- 

0 


Wall 

Case 

4 


nil;   (oi.i.i crioN   oi-    inscrip  i  ions 

linios  cirdicali-'el  this  plcasaiu  thing  lor  the  sanctuary  to  the 
god  .Vpollo  lor  a  xow,  in  the  hol\   [">laLC,  in  good  fortune." 
II.  7s  in.     W.  II  in.         Docll  .\i,  i,  -jby. 

I,  Ixx.w,  5  5(S;  III,  cxxx,  I. 

187-!.  \'i)ii\i:  KiLii.i,  showing  two  \(>laries  advaneing  to  the 
right,  with  oll'crings  in  their  hands,  towards  a  seated  figure, 
probabh  a  deit\,  on  a  throne;  in  front  is  a  low  altar,  and 
below  the  foremost  \()tar\  two  lines  of  inscription,  broken 
at  both  ends,  and  illegible.  The  st\le  seems  to  be  of  the 
fourth  or  third  centurx'.  H.  7^  in. 

!    Ixxx\    tS7:  111    exxNiii,  4 

1S7V  \()ii\H  Ri-,Lii.t-,  showing  in  the  upper  part  a  deit\'  seated 
facing  to  the  left;  before  him  is  an  altar.  Below  is  a  scene 
of  rescue  from  peril  in  c]uarr\ing  or  mining.  A  bearded 
man  in  short  tunic  adxances  to  seize  b\'  both  hands  another 
man  similarh'  clothed,  who  stands  in  front  of  the  vertical 
face  of  a  large  mass  of  rock  or  earth.  I^etween  the  two  men 
a  pickaxe  lies  on  the  ground.  In  the  background  above  the 
rock  is  the  inscription,  in  three  lines,  as  follows:  —  "  Di'ithemis 
dedicated  to  the  god  .Apollo,  in  good  fortune." 
L.    12  in.     (Cyprus,  pi.  XLA'III.      Doell  xi,  2,  7()7. 

I,  Ixxxv,  556;  1 1 1 

1S74.  \'<)'iivt-.  Rhlii^-.f,  of  which  onl\" 
the  lop  right-hand  corner  is  pre- 
serxed.  It  shows  a  seateii  deitx' 
facing  to  the  left,  as  on  187^  and 
in  front  of  him  the  inscription,  in 
three  lines,  nearl\'  complete,  as 
lollows:  -  "Onasioros  dedicated 
to  the  god  Apollo  in  (good  for- 
tune) !  "  1..  ().',  in. 


H.  7|  m. 


cxxxni,  I. 


k^ 

A'';v/i  T 

W 

T^ 

mk 

'r-4ii'vi 

ip 

/  ''-^^ 

m 

^L^l 

/^^j 

1 

M 

i 

^ 

1874 

111,  cxxxi\ , 


187,.  \'()ii\i  Ki-.Lii-.F,  fragmentar\',  showing  the  upper  part  of 
three  men  who  mo\e  in  procession  to  the  left,  in  fairh'  good 
work  of  the  fourth  or  third  centurw  ()\er  their  heads  is  the 
inscrijnion,  in  two  lines  broken  at  each  end  and  now  outlined 
with  jiaint;  though  fairl\  clear,  it  has  not  been  translated. 
II.  7.'  in.     W.  4,'  in.  1 1 1,  cxwiii,  i. 

|87().  \'<)ii\i  Riiirr,  fragmentarw  shov\ing  part  of  a  boat  with 
two  sailors   in   rough    Hellenistic   work.      .\b(ne,    in   the   back- 


^14 


^^--    "  '•"    •"      ■inaiiii  III  'lii 
1871 


'1..    I  i 


1,^7  5 


iin-;  coLLHcnoN  oi    inscrifi  ions 

gnuinci,  arc  paris  of  two  lines  of  characters,  too  ill-arranged 
aiui    inconiiilete  for  translation.  H.  4',  in.     W.  2]  in. 

Ill,   CXXX,   2- 

Wall    '''^77-     I'rag.\unt  of   a    Rhlibf,   showing  onl\-   the   hind   legs  of 

C.isc  two   running   horses.     In    the   background    is   the   inscription 

'  in  two  lines,  of  which  only  the  ends  are  preserved.       H.  6|  in. 

W.  S  in.  II  I,  cxviii,  3. 

1878.  X'oTivH  Rhlief,  on  a  rough  block  of  limestone,  showing 
two  altars  ver\'  rudel\-  outlined,  almost  without  relief,  and 
abo\e  them  the  inscription,  "Hudamodotes  dedicated  to  the 
god,  in  good  fortune"  in  rude  and  damaged  characters.  Below 
is  another  line,  quite  unintelligible.     L.  125  in.       III,cxxxv,4. 

iHjc).  \'oTi\F  Rhlief,  showing  a  woman  standing,  and  b\'  her 
side  a  nude  child.  The  work  is  coarse,  probabl\'  of  the  fourth 
century,  with  details  in  red  paint.  The  inscription  is  cut  on 
the  background  of  the  relief  and  is  too  much  damaged  to  be 
read  with  certaintw        H.  8  in.     W.  4  in.      Doell  xi,  4,  768. 

Ill,  cxxv,  3. 

18S0.  Helmeted  Head  of  a  Male  Votary,  like  1001-3  in  the 
Ojllection  of  Sculpture,  and  probably  of  the  sixth  or  seventh 
centurv.  On  the  pointed  cap  is  the  inscription  "the  vow  of 
Naos,"  in  large  characters,  carelessl\-  cut,  and  evidently  no  part 
of  the  original  design.       H.  4^  in.  Ill,  cxxxi,  1,2. 

1881-2.  Votive  Ears,  of  limestone,  like  1682  in  Wall-Case 
■J'-,,  but  coloured  red;  probably  of  the  fourth  or  third  century. 
The  inscriptions  are  cut  on  the  lobe  of  the  ear.  1881  is  not  easv 
to  read,  but  perhaps  gi\es  the  name  of  the  dedicator.     M.  2|  in. 

1 1,  cxiii,  1056,  II  I,  cxl,  13. 
1882  is  inscribed  with  four  characters,  which  have  been  read, 
"I  am  from  the  earless  man."  H.  2|  in.  I,  cxxix,  933; 
Il,cxlii,  1055  (wrongl\- described  as  being  of  cla\-) ;  III,  cxl,  15. 

188:5.  Part  of  a  X'otivf-;  Stele  With  Voiates  like  1415-20, 
with  a  fragmentarv  inscription  on  the  broad  surface  of  one 
of  the  \olutes.     Said  to  be  from  Golgoi.  H.  4I  in.     W.  2  in. 

Ill,  cxxvi,  I. 

Wall    1884.     Disc  of  Red  Polished  Ware  like  that  of  the  Earl\-  Bronze 

'-''^'^  Age,   roughlv  trimmed  to  shape  and  grooved  at  the  edge;  it 

ma\-  ha\e  been  a  loom-weight,  or  a  net-sinker,  or  other  extem- 

316 


INSCRIPTIONS    FROM    GOLGOI 


porized  implement;  or  perhaps  a  counter  from  a  game.  On  the 
red  surface  is  the  inscription  "Of  Phantasios"  in  unusually 
archaic  characters  with  the  numeral  ||||.  D.  if  in. 

II,  cxlii,  1057,  1 1 1,  cxl,  5. 

1885.  Disc  of  Limestone  of  uncertain  use,  engraved  on  one  of 
the  flat  faces  with  three  circles  set  in  a  triangle,  perhaps  a 
numeral,  and  on  the  edge  with  one  uncertain  sign.         W.  2f  in. 

Ill,  cxxxix,  2. 

1886.  Marble  Base  for  a  Statuette,  with  an  inscription  run-  YVall 
ning  round  three  sides,    in  small   characters,    partly    defaced;  Case 
only  the  last  words  are  legible:  —  "(they)   dedicated  me  to  4 
Apollo."         H.  1 1  in.     W.  2g  in.                       1 1 1,  cxxvii,  9-1 1. 

1887.  Base  of  a  Statue,  life-size,  with  the  first  two  toes  of  the 
left  foot  preserved.  On  the  front  is  the  inscription,  in  two  lines, 
broken  away  at  both  ends;  the  parts  which  remain  record  the 
dedication  of  "this  statue",  "in  the  third  year",  and  perhaps 
part  of  the  name  of  the  deity  (Apollo  or  Aphrodite);  the  name 
of  the  dedicator  is  quite  gone.  L.  8^  in.  Ill,  cxxxii,  i. 

1888.  Base  of  a  Statuette,  with  a  deep  rectangular  socket.  The 
inscription,  which  runs  round  the  upper  margin,  seems  to  be 
complete,  but  is  not  fully  intelligible.  Someone's  maternal 
grandfather  dedicates  to  a  deit\'  who  seems  to  have  the  title 
"Mykhoia:"  compare  Aphrodite  "M\kerodis,"  in  1907  below. 
H.  44  in.  Ill,  cxxv,  5. 


1889-96.     Siatue-Bases   anu  Wall-Blocks,    all    roughK    hewn, 
more  or  less  damaged,  and  inscribed  as  follows:  — 
1889,  in  two  lines  "Stasidamos  am   I";  the  statue  speaks  for 
itself.  L.  102  in.  Ill,  cxxxv,  i 

1890  contains  the  name  Diaithemis.      L.  10  in.        Ill,  cxxxv,  2 

1891  contains  the  name  Menodoros.  1..  <S  in.  Ill,  cxxxv,  3 
1892,  perhaps  a  proper  name.  1.  9]  in.  Ill,cxxxvi,  i 
1893  dedicated  "to  the  god,  Apollo."      1..  sin.      1 1 1,  cxxxviii,  1 

1894,  a  mere  graffito,  unintelligible.      1..  n  ]  in.      1 1 1,  cxxxviii,  2 

1895,  too  roughK' worn  lo  lie  read.  I,.  7',  in.  Ml,  cxxx\'iii,  .\ 
i89(),  unintelligible,  though  ajiparentlv  complete.  1..  11  in 

111,  cxxxix,  4 

317 


Wall 
(^ascs 
4.  7<<> 


Nil.    C()LLI-;C1  ION    OF    INSCRIPTIONS 

^^■'''  INSCKIl'rU)N^    IN    BOIH    C.VPRIOri-    AND   t'.REKK    CHARACTHRS 

Casos 

4.i.<'    OcL'asionallx-  inscriptions  are  duplicated  in  (l\priote  and  in  Greek 
characters,  or  are  written  partl\    in  the  one,  partl\'  in    the   other. 

1897.  Landmark  or  lioi  ndarv-Stoni-.,  a  rectangular  block  of 
limestone  inscribed  with  (i)  the  names  of  Timodoros  and 
Drimokia,  who  are  commemorated  also  on  1919;  together  with 
(2)  what  seems  to  be  a  record  of  a  purchase  by  Drimokia,  and  (3) 
some  obscure  symbols,  which  ma\  perhaps  record  the  price  paid. 
Four  C\  priote  signs  to  the  left  of  the  Greek  inscription  seem 
to  be  independent  of  it.  L.  2  ft.  4I  in.     C\'prus,  No.  19. 

1 1 1,  cxxix,  2. 

1898.  Bu.iNOLAL  Inscrifi  KJN  on  a  plain  block  o\  limestone;  in 
Greek  the  one  word  "of  Themias";  and  near  it  three  lines 
of  C^xpriote  characters  which  have  not  been  read  with  cer- 
taint\-.         H.  -\  in.     L.  i  ft.  8  in.  Ill,  cxxix,  3_ 

One  object  must  be  added  here,  because  it  has  been  formerlx' 
described  as  bearing  an  "inscription";  there  is,  howeN'er,  little  doubt 
that  onl\'  an  ornament  is  intended. 

1899.  Clay  FiGURFi  of  a  Fhmale  Votary,  in  the  moulded 
Oriental  st\  le,  of  the  se\enlh  or  earl\-  sixth  centurx',  with  high 
head-dress  and  long  tresses  of  hair  on  the  shoulders.  At  the 
throat  are  three  incised  lines,  probablx'  intended  as  the  pen- 
dant of  a  necklace,  but  forming  also  the  C\priote  character 
for  //.  It  is  said  to  be  from  Soloi,  and  resembles  cla\'  figures 
from  a  sanctuarx'  in  that  district,  now  in  the  (-\prus  .Museum. 
H.  2.J  in.  Ill,  cxli,  Suppl.   2. 

(.RhLK    INSCRIPITONS 

The  Greek  Inscriptions  in  the  Collection  include  three  principal 
classes:  (ij  public  documents,  (2)  dedications  in  sanctuaries, 
(5j  epitaphs. 

The  first  class,  which  is  alscj  commonl\'  found  in  sanctuaries,  ma\- 
con\enienll\'  include  all  those  dedications  which  record  the  career 
or  titles  of  an  official,  or  a  public  benefactor. 

1900.  Basf.   ()i-    a    SrATUH   oi-    .Aksinoe    Philadf.li^hos;   in   gre}- 
,.^                marble,   well   W(jrked    and    neath'    cut.      It    is    dedicated    b\' 

6  ".Aristokles,    son    of    .Aristokles,    of    .Alexandria,    to    .-\rsinoe 

Philadelph(js    Naias,"    sister    and    consort    of    Ptolemx'    11    of 
Fg\[n,  who  receixed  dix'ine  honours  both  separatelx'  and  with 

318 


GRHHK    INSC'.KII' I  IONS 

her  brother.  The  cily  of  Marion  in  (Cyprus  was  retouncieJ  and 
renamed  in  her  honour.      She  died  m  271    B.  C.  H.  8  in. 

L.  2  ft.  2-2  in.         C^vprus,  No.  9.  Ill,  cxlvi,  5. 

1 90 1.  Bash    of    a    Statu h    of    Ptolemy    PttiLOPATOR;    in    soft    \N'all 
Eg\'ptian  limestone;  dedicated  b\'    Teos,  son  of  Horus,  warder   ^^'^^'-'- 
of  the  district  of  Ammonieion  in  Eg\pt,  on  behalf  of  Ptolenn'    '' 

IV'  Philopator,  and  his  consort  .Arsinoe  111.  This  kind  of 
vicarious  dedication  was  a  common  form  of  compliment  in 
Hellenistic  times.  Ptolemv  IV  reigned  from  221  to  204  B.  C. 
This  inscription  does  not  belong  to  C\prus,  but  was  bought  in 
Thebes  in  Upper  Egypt  before  1886.  H.  y'l  in.     W.  8  in. 

It  is  not  published  in  the  Atlas. 

1902.  Statue-Basf:  of  Limestone,  hollowed  above  for  a  socket: 
dedicated  by  the  people  of  Aleloucha,  "in  good  fortune"; 
probabl\'  on  the  realization  of  some  wish  or  vow.  The  block 
is  said  to  have  been  found  at  the  modern  village  of  Melousha, 
which  mav  therefore  have  retained  its  ancient  name.  L.  i  ft. 
115  in.  Cyprus,  No.  22.  Ill,  cxlii,  2. 

1903.  I3hcri;h  Regulating  Sacrifices  and  Offerings;  on  a 
slab  of  blue  marble,  complete  to  the  right  edge,  but  broken  to 
the  left,  and  above  and  below.  It  records  rules  for  admission 
to  certain  sacrifices  (apparently'  in  consideration  of  some  gift 
from  a  guild  of  young  men,  ephehoi),  and  provides  for  the 
purchase  of  silver  cups  for  the  use  of  the  Goddess.  Though 
the  latter  is  not  named,  she  ma\'  be  the  Paphian  Lad\'  of 
Khxtroi,  since  the  stone  is  said  to  have  been  found  at  K\threa. 
I'he  date  is  given  approximatelv  bv  the  Roman  Imperial 
formula  at  the  end,  and  is  in  the  first  or  second  centur\'  A.  D. 
The  name  of  the  Roman  Proconsul  is  partly  broken  awa\-, 
but  seems  to  have  been  Ouintus  Sergius;  not  therefore  the 
Sergius  Paulus  who  was  Proconsul  at  the  time  of  St.  Paul's 
visit  whose  first  name  seems  to  ha\'e  been  Lucius.  L.  8]  in. 
H.  4  in.         (^\-prus.  No.  11.  llLcxIiw  i. 

i()04.  Si  A  rui-,-P)Asi-,,  of  grev  marble,  dedicated  bv  the  "  Si'uate  and 
People  of  Kurion  in  honour  of  Ouintus  (Radius  llonoralus, 
Prefect  for  the  distribution  of  corn.  Praetorian  Legale  first  in 
Sicilv,  then  in  Pontus  and  Bith\nia,  and  now  l-'roconsul 
of  (-vprus;  through  their  (Curator,  Dionx'sios,  son  of  Trxphoii ; 
on  the  archonship  of  Krates."  The  list  of  offices  held  b\  the 
governor  is  a  good  example  of  a  "senatorial"  career  under  the 


nil-;  coLi.i-.ci  ION   oi-    inscrii'Tions 

earlier  emperors.  Ihe  record  of  the  local  magistrates  who 
were  charged  with  the  execution  of  the  decree  gives  a  glimpse 
of  the  daih'  administration  of  a  C\'priote  cit\'  under  these 
late  conditions,  and  would  ser\'e  to  date  the  monument, 
if  we  had  the  full  list  of  them.  L.  2  ft.   54  in.        H.  13  in. 

(".\prus.  No.  ^3.  Ill,  cxliii,  3. 

Wall     i<)<'v     Statli:-B.\sb   of  white   marble,   in    honour  of  an   athlete, 
Case  who  won  distinction  for  himself  and  his  city  in  the  ordinary' 

'  "fi\e-fold"  competitions    (leaping,  running,  wrestling,  throw- 

ing the  spear  and  the  disc),  and  also  in  races  for  chariots,  and 
for  men  in  full  armour.  The  names  of  the  athlete  and  of  his 
cit\'  are  unfortunatel\'  missing.  The  lettering  is  unusuall}' 
late  and  of  almost  Bw.antine  style.  H.  i  ft.  2\m  W.  12  in.; 
broken  at  top  and  at  left  side.  C\prus,  No.  44.  Ill,  cxlviii,  2. 
iQod.  Block  of  Blue  .Marblh,  broken,  with  part  of  an  inscrip- 
tion commemorating  the  ser\'ices  of  a  citizen,  whose  name 
is  broken  awaw  H.  8-J-  in.     W.  7  in.  C\'pr'.is,  No.  46. 

Ill,  cxlix,  I. 
Dedicatorx'  inscriptions  are  usuallv  placed  either  on  the  voti\e 
object  itself  or  on  its  pedestal,  as  in  the  preceding  group.  The 
formula  \aries  but  little,  and  generall\-  consists  onI\-  of  the  names 
of  the  deit\-  and  the  dedicator,  and  sometimes  of  the  person  or 
occasion  for  which  the  dedication  was  made. 

1907.  DhDiCAMON  TO  .\PHRODirr.  .Myki-rodis  on  a  block  of 
white  marble,  probabh'  from  a  statue-base.  Onasagoras 
dedicates  on  behalf  of  the  wife  of  Nikias  and  his  daughter; 
the\-  are  "of  the  village  Helikousa,"  the  position  of  which  is 
unknown.  The  epithet  "  .\l\kerodis,"  which  should  mean  the 
'■  Lad\i)f  the  Almond-tree"  is  ncjt  \er\'  clear  on  the  stone,  and 
is  not  otherwise  known,  but  compare  the  .Aphrodite  ".Mukhoia" 
on  188H.  The  lettering  is  ver\-  careless,  and  not  earl\'.  L.  2  ft. 
2  in.         (~\prus,  No.  23.  Ill,  cxlii,  3. 

Wall  i(-)o8.  Dhdication  to  .\i'Ollo  H^lates  on  a  large  store-vase 
of  coarse  red  potterx'  of  late  Graeco-Roman  fabric;  incised 
in  large  letters  on  the  shoulder  while  the  clay  was  still  wet. 
I'imcjn  dedicates  "in  fuKilment  of  a  \'ow,  to  Apollo  of  the  Wood- 
land and  of  Wealthf?").  "  This  Apollo  of  the  Woodland  (HxTates) 
had  a  sanctuar\-  near  Kurion,  and  the  \ase  (like  1845-9)  is 
said  to  ha\e  been  found  there. 

II,  cxliii,  1065;  111,  cl,  Suppl.  I. 

320 


Case 

S 


GREEK    INSCRIPTIONS 
1909.     Dedication  to  Apollo  Lakhlths  on  a    block    of    lime-    ^^^ 

8 


stone,  probabl)'  the  base  of  an  otTering.     Aristous,  the  chief        '^"^ 


soothsa\-er,  gives  thanks  to  the  god  on  behalf  of  Kleon  his 
son  "in  good  fortune."  The  epiithet  is  not  otherwise  known, 
and  its  meaning  is  not  clear;  it  may  be  derived  from  some 
localitw  The  stone  (like  1240  tf.,  1834)  is  said  to  come  from 
P\la,  where  a  sanctuar\-  of  Apollo  was  excavated  by  Mr.  Lang. 
L.  II 2  in.         Cxprus,  No.  12.  Ill,  cxlii,  4. 

1910-11.  Dedications  to  .-\rte.\us  Paralia.  1910,  on  a  bracket 
of  red-and-white  marble,  which  retains  the  leaden  fastening 
for  a  statuette,  was  ofTered  b\'  (Jl\  mpianos  to  ".Artemis  b\-  the 
Sea"  on  behalf  of  his  daughter's  child,  Beriane;  on  191  i, 
a  small  pedestal  of  limestone,  the  dedicator's  name  has  perish- 
ed. Both  stones  are  said  to  be  from  Larnaca,  where  there 
is  a  famous  sanctuar\-  of  Artemis  Paralia,  close  outside  ancient 
Kition.  Modern  Larnaca  still  observes  a  midsummer  festi\'al 
of  the  "Virgin-b\-l he-Sea,"  at  which  worshippers  from  far  and 
near,  and  especiall\-  the  women  and  girls,  bathe  themselves  in  the 
sea  before  the  town.  H.  2^  in.  (i9io);4s  in.  (191  i).  C\prus, 
No.  37  (1910).  1 1 1,  cxlvi,  4  (1910);  cl,  Suppl.  II  (191  \). 

1912.  Dedication  to  Oi'aon  .Melanthios  on  a  small  pedestal  ^y^'" 
of  red  marble  with  the  leaden  fastening  f(.)r  a  statuette  still  " 
in  place;  dedicated  "to  Opaon  .Melanthios  b\-  Katagraphos, 
in  performance  of  his  \'ow  on  behalf  of  his  son  Katagraphos," 
and  dated  "in  the  sixth  \ear."  (Jpaon  Melanthios  is  the  name 
of  a  rustic  deit\'  whose  onl\'  known  sancluar\'  is  near  the  \"il- 
lage  of  .Amargetti  in  the  district  of  Paphos:  and  as  this  in- 
scription is  said  to  ha\'e  been  acquired  at  Old  Paphos,  it 
probabl\'  belongs  to  this  site.  The  small  figure  i()n  is  t\"iiical 
of  the  sculpture  in  this  sancluarx.  Other  inscriptions  from 
Amargetti  are  published  in  |.  11.  S.  xi.  p.  171.  IT.  antl  (;.  M.  (]. 
3921-24.    H.  34  in.  W.  5U  in.    (Ixprus,  No.  3.  Ill,  cxl\i,  2. 

1915.     Statueti  1-.  or  A  .\L\i.e  N'oiak'i',  in  rough  limestone,  wearing    W.ill 

a  short  tunic,  and  holding  an  obscure  obiect,  perhaps  ;i  bird,    '-■''■''^ 

.     .  ,  .  .  .        1114 

m   his  two  hands.      I  he  head  is  missmg.      1  he  st\le  is  c|uite 

barbaric,    the    bcxh'    and    limbs    being   niereh'   sc|uaretl    oin    in 

low  relief.     On  the  front  of  llu'  tunic  is  the  \()ti\e  inscri[it  ion 

"  Nikiindros,   on    lieh;ilf  of   his   son     liiiKigorjs."      I  igurt's    of 

simihir  rude  sl\le  are  clKirjcterist  ic  of  the  s;iiutu;ir\   of  (  )|i;ion 

.Melanthios    ;it  .Amargi-tti:    compare  C.  M.  ('..  so"!    ■""';  'Uul  as 

3^1 


Tin-:  coi.i.HCTioN  of  inscripiions 

Wall  this   one   is   said    to   ha\c   been   acquired   at    New   Paphos,   it 

'^^'^  probabh'  belongs  to  the  same  scries.      H.  HI  in.     Cvorus,  No.  H. 

^  III,  cxlvi,  3. 

1014-1 S-  DEDICATIONS  TO  Zhus  La BRA n ios,  Oil  Small  statue-bases 
of  limestone  which  show  the  feet  of  the  figure  and  also  another 
t)bject  partl\'  broken  awa\',  on  the  front  right-hand  corner. 
Thex'  are  dedicated  in  fulfilment  of  a  vow,  1914  b\-  Oliasos, 
I()!t  b\-  Demctris.  The)'  are  said  to  be  from  the  ruins  of  a 
temple    near    Fasuli.         L.  i  ft.  9-2  in.,  i  ft.  iij  in. 

1 1 1,  cxliii,  2  (1914);  I  (191 5). 
This  Zeus  Labranios  is  commonlx'  compared  with  the  Zeus  who  was 
worshipped  at  Labranda  in  Caria  under  the  title  of  "  tratios" 
or  Lord  of  Hosts;  his  attribute  was  the  double-axe,  of  which  the 
C'.arian  name  was  "labrxs."  This  double-axe  as  a  religious  s\'mbol 
is  found  ver\'  wideh'  distributed  in  the  .Minoan  world  and  its 
colonies  from  Sicih'  to  C\prus;  and  the  legend  of  the  Octan 
"Labxrinth"  probablx'  preserves  the  mcmor\-  of  the  "place  of 
the  double-axe"  in  the  Palace  of  Knossos.  If,  as  seems  likelx', 
Zeus  l.abranios  in  (~\prus  is  the  same  dcit\',  his  worship  ma\'  be 
regarded  as  a  relic  of  the  .Minoan  colonization  of  the  island.  It 
is  noteworth\-,  howexer.  that  the  name  of  Oliasos,  the  dedicator  of 
i()i4,   seems  to  be  of  Carian   form. 

i()iO.  .MoNoiHhisTic  Pka^i-rto  th  h  Sln,  On  a  block  of  limestone, 
in  illiterate  (jreek.  and  late  dotted  letters.  It  runs  as  follows: — 
"One  God,  the  (jreatest,  the  .Most  Glorious  Name,  help  us  all, 
we  beseech  1  hee."  Below  are  rudeh'  carxed  two  palm- 
branches,  and  between  them  two  wreaths,  within  one  of  which 
the  word  "Helios"  the  Sun  is  inscribeel;  the  other  wreath  is 
defaced.  For  another  monotheistic  inx'ocation  compare  the 
engraxed  stcjne  4298.      H.  104  in.     W.  12  in.     Gx  prus,  No.  20. 

Ill,  cxlix-,  2- 
1917.     FkagmiiNTary    Inscription   on   a   slab   of  limestone,   con- 
taining parts  of  three  proper  names,  but  no  clear  sense. 
H.  7  in.  Ill,  cl,   Suppl.  5. 

Before  the  fifth  ceiuurx',  sepulchral  inscriptions  are  \erx-  rare  in 
Gxprus.  F\cn  of  the  fifth  cenlurx  onlx'  a  fexv  are  knoxvn,  and  of 
these  some  are  the  memori.ils  of  strangers  from  other  parts  of  the 
Greek  xx'orld,  like  the  epilajTis  of  a  Naxian  and  a  I  lalicarnassian, 
from  Amathus,  no\s-  in  the  British  .Museum.  From  the  t'ourlh 
cenlurx   <jn\xard,  on  the  other  hand,  inscribed  tombstones  become 

322 


GRHFiK    INSCRII'IIONS 

common,  of  the  common  (jreek  form,  with  a  gable-shaped  pediment 
above.  The  carh'er  ones  bear  onl\'  the  name  of  the  deceased,  in 
the  nominative,  with  the  name  of  the  father,  and  sometimes  also 
that  of  the  fatherland  (as  in  1920)  if  the  person  is  buried  awa\-  from 
home. 

H)i(S.  ToMBSTOXE  OF  PosHiDONios,  son  of  Heliodoros;  of  white 
marble,  with  pediment  and  akroteria.  The  names  are  cut 
close  below  the  cornice  and  the  rest  of  the  surface  of  the  stone 
is  carefull\'  dressed  as  if  it  were  intended  to  be  painted,  like 
the  contemporarv  tombstones  from  Amathus  (now  in  the 
British  Museum),  from  Thessal\-,  and  from  other  parts  of  the 
Greek  world.  But  no  trace  of  paint  is  now  to  be  seen  here 
The  form  of  some  of  the  letters  is  surprisingly'  earh',  but  the 
earliest  record  of  the  name  Heliodoros  is  in  the  fourth  centurx'. 
H.  I  ft.  8.1  in.     W.  12^  in.         Cxprus,  No.  3H.      HI,  cxlvii,  4. 

1919.  Block  of  Li.mhstonh,  perhaps  from  a  tomb,  inscribed  with 
the  name  of  Drimokia,  wife  or  daughter  of  Timodoros.  The 
lettering,  though  vcr\'  rudel\-  cut,  does  n(jt  seem  to  be  later 
than  that  of  1897  which  contains  the  same  combination  of 
names,  and  ma\'  well  refer  to  the  same  persons.  1..  gin. 
W.  4i  in.     Cx'prus,  No.  18.  Ill,  c.xlii,  i. 

1920.  Tombstone   of   Soghnes,   son   of  Sokrates;    of    limestone, 
with   pediment  and  akroteria;   after   the   names   followed   that 
of  the  cit\',    but    it    is   defaced.  H.  ()\  in.     W.  11',  in. 
C\-prus.  No.  21.  111.  cl.  .Suppl.   18. 

Sometimes  the  name  of  the  deceased  is  gi\en  in  the  gemti\e  with- 
out further  description,  but  it  is  not  certain  that  tlie  stone  1921 
is  from  a  tomb  at  all. 

1921.  Block  oi-  LLME:si(>N(-.  shapei.!  like  a  stat tie-basi'.  and  m- 
scribed  with  the  name  of  .Sosianax.  11.  11  in.  W.  i  ft. 
4  in.  111.  cl,  Suppl.  (). 

The  commonest  formula,  howexer,  is  tlie  briel  address  to  tlie 
deceased  "(iood  .\pollonia.  farewell";  willi  or  withoul  ihe  name 
of  the  father  or  husbami.  This  form  begins  in  lale  llelienislic 
time,  and  persists  till  the  adoption  of  ( '.hrisl  ianit  \  .  Soinrtimes 
other  Wf)rds  are  addeti.  of  alfeclion  or  encouragement,  such  as 
"Courage,  b.uchianos,  no  one  is  immortal";  or  a  jUM'sonal  toucii 
is  added  hv  an  interjection  or  the  descriinion  of  ,-\rtemuloros  .... 
as  "the  hunter."       The  pedimenled   stele  is  still  commoidv    used. 

525 


Wall 
( ^ases 
II    14 


riii-   (;()Li.i;(;ri()N  of   insckii'i  ions 

Wall    H)22.     ToMUsroM-  or  Dhmi-ikr  s,  son  of  Barenis;  of  wliile  marble, 

Cases  ^^.jjj^  pediment   abo\e,  and  the  fit^ures  of  a  man  and  a  child, 

11,12  .      ,  ,.    .        ,  ,  .  ,  ,  .,.,       , 

m  low  reliet,  within  a  round-topped  recess.      1  he  lettering  is 

of  rather  more  careful   work   and   earlier  st\le  than   is   usual 

in     tombstones     with     this     late     formula.  H.  3  ft.  \  in. 

W.  I  ft.  ^  in.  I,  cxx\i,  917;     III,  cl,  Suppl.  u). 

1923.     To.MBSTONi-:  OF  .Athhnos,  son  of  .Archicreos,  of  limestone, 

with    plain    gable    top,    and    the    customary    formula.      Both 

names  are  unusual!)'  corrupted.  H.  i  ft.  7  in.     W.  iil  in. 

I,  cxKiii,  1 1()7;     III,  cxhii,  3. 

Other  inscriptions  are  jtlaced  on  a  stone  pedestal  intended  to  hold 

a   statue   or   other   sculptured    monument;    or  on    a   small    tablet 

of  harder  stone,  to  be  set  in  a  panel  of  such  a  monument. 

^Vall    1924.     .MoNUMHNT  OF   DiD-iMA,  Wife  (or  daughter)  of  Athenaios 

Cases  wlih  the  usual  formula;  a  limestone  pedestal  hollowed  above 

14,  1 5  ... 

to  recei\e  a  statue  or  stele.  H.  5  in.     W.  132  in. 

1925.  Tabi.i-.t  of  Bacchis,  a  (^.ook,  on  a  small  slab  of  white 
marble,  intended  to  be  inlaid  in  a  larger  slab  or  stele;  the 
upper  part  has  been  cut  awa\-,  and  the  first  of  the  extant 
lines  is  damaged,  but  the  sense  is  clear;  "To  .  .  .  dear, 
in  arts  of  cooker\'  e\'er  found  efficient,  the  honoured  Bacchis 
this  plot  of  ground  now  holds  in  death."  The  letters  are  late 
and  rough,  and  the  metre  festix'e  and  unusual.  H.  4I  in. 
W.  4^  in.     C\prus,  No.  45.                                          Ill,  cxiv,  i. 

1926.  Tablft  of  Sala.minia,  wife  or  daughter  of  Kotho  Euios. 
on  a  slab  of  white  marble,  with  the  usual  formula.  H.  6  in. 
\V.  (S  in.     (^\  prus.  No.  14.                                            Ill,  cxivii,  i. 

1927.  BiLiNGLAi.  Tablet  of  Jt:i-iA  Donai a,  a  block  of  limestone, 
inscribed  both  in  Greek  and  in  Latin  to  the  memor\'  of  a 
freed-woman  of  Olx'mpos.  H.  i  ft.  4  in.  L.  i  ft.  3  in. 
Gxprus,  No.  41.  Ill,  cxiix,  2. 

1928.  Fragment  of  the  Tablet  of  Laoda.meia.  of  limestone, 
inscribed  with  four  elegiac  couplets,  much  damaged,  in  which 
the  deceased  is  addressed  hv  her  husband  Herodes  in  terms  of 
alTection.    H.  q  in.    W.  92  in.      (l\prus.  No.  34.       III,cxl\-,  2. 

i()29.  'l\\BLE/r  01-  Soi>A  PROS,  white  marble,  with  an  elegiac  couplet 
like  the  preceding,  "F.ven  if  th\'  fated  end  has  brought  thee 
beneath  the  lap  of  earth,  honoured  Sopatros,  farewell  in  death 
e\en  auKjng  the  dead."    H.  y\  in.    W.  15  in.     (]\prus,  No.  9(). 

II  I,  cxhiii,  1. 

324 


GREEK    INSCRIPTIONS 

But  by  far  the  commonest  monument  is  a  short  columnar  "cippus" 
of  Hmestone,  with  turned  capital  and  base,  and  sometimes  fash- 
ioned on  a  lathe,  and  occasionally  decorated  with  a  wreath  of 
rosettes  and  pine-cones  round  the  shaft,  or  a  portrait-head  in  an 
oval  panel  worked  on  its  front.  1  he  inscription  is  cut  on  the  side 
of  the  shaft:  usually  it  is  of  the  briefest  form;  but  occasionalh'  it 
is  longer,  and  metrical. 

1930.  CipPLS  OF  A  Woman  of  whose  name  onI\'  the  termination 
is  preserved,  in  a  metrical  inscription  of  five  elegiac  couplets, 
too  ill-preserved  to  restore  in  full;  but  the  deceased  seems  to 
address  her  parents  and  surviving  relatives.  H.  142  in. 
W.  154  in.         C\prus,  No.  40.  Ill,  cxlv,  3. 

193 1.  CiiM'LS  OF  Artfmidoros,  With  an  elegiac  couplet  "Blessed  Wall 
Artemidoros,  who  has  ever  lived   an   honoured   life,   farewell  Cases 
even  among  the  dead  by  reason  of  th\-  goodness."        H.  242  ,2  ,> 
in.     W.  142  in.         Cyprus,  No.  39.                 Ill,  cl,  Suppl.  16. 

1952-67.  Sepulchral  Cippi,  of  limestone,  inscribed  with  the 
name  of  the  deceased,  and  the  customary  formula  of  farewell. 
The  full  list  of  names  is  given  in  the  Appendix.  C\prus,  No. 
100(1939).  Colonna-Ceccaldi,  Monuments  de  Cypn\  PI.  xi 
(1946,  195 1 ).  1,1  1 49- 1  1H5. 

i96(S.     Fragmeni    of  a  Cippus,  with  the  customar\-   formula   of   \\;iii 

farewell.  1 1 1,  cl,  Suppl.  3.S.    Cases 

14,  1 3 
1969.     Sepulchral    Tablet  of  White   Marble,  with  the  same 

formula  as  the  cippi  1932  ff.  Ill,  cl,  Suppl.    17. 

i97(j.     Slab  of  White  .Marble  which  has  been  re-cut,  for  use  in  a 

pavement,  and  is  much  worn;     but   still   shows   a    few   letters 

of  an    inscripti(jn    running   diagonall\'  across  its  present  face. 

W.  42  in. — 5  in.  Ill,   cl.  Suppl.   3. 

197 1.  Block  of  I.imestoM-,  inscribed  with  large  letters,  of  which 
the  meaning  is  not  clear.       H.  2  ft.  3  in.       W.  i  1  in. 

Ill,   cl,  Suppl.  7. 

;972-S3.  Rhodian  Amphorai  and  Other  Siokf-Jars,  im- 
pressed with  stamps  so  thai  the  letters  and  devices  are  in 
relief;    except    i978-<So,  which  are  tlejiressed.      Ill.cl,  1-7.9. 

i().S4.  P)AM-.  OF  A  SiATii/ni-  01  I  FKRACoi  1  A,  inciscd,  before 
firing,  with  the  name  1 1  AoGyo;,  jirobablx'  thai  of  thi'  maker. 
Said  to  be  from  Kition,  and  ^erlaiiiK'  in  t  he  characlerist  ic 
terracotla-fabric  (;f  that  cil\-.  Ill,   cl,  S. 

325 


nil-    COI.LHCTION    OF    INSCRIPTIONS 


Wall 
Ciso 


\i-)^^'i.  Ami'Hoka  of  late  (jracco-Koman  form,  with  ribbed  body 
and  swollen  neck,  inscribed  in  red  paint  with  vague  scrawls, 
perhaps  monograms,  and  the  word  7:p6vota  "forethought." 


H.  2  ft.  \l  in. 


Ill,  cxlv,  1078-g. 


326 


HI-:  COLLIX:!  ION  OF 

I  i:rracoi  lA 

FIGLR1-:S 


THE  COLLECTION  OF  TERRACOTTA 
FIGURES 

PROCESSES    OF    MANUFACTURE 

FROM  the  earliest  stages  of  the  potter's  art,  clav  has  been 
used  for  terracotta  figures,  as  well  as  for  \ases.  In  primilixe 
times,  and  in  the  unskilled  work  at  all  periods,  the  clay 
is  modelled  with  the  fingers  or  with  only  the  simplest  tools; 
but  in  the  period  of  Oriental  influences  hollow  moulds  came  into 
use,  into  which  the  soft  clay  was  pressed  till  it  took  the  precise 
shape  of  the  cavity.  These  moulds  were  themselves  made  of  baked 
clay,  and  received  the  impress  of  an  original  pattern  figure  carefully 
modelled  by  hand.  With  such  a  mould  it  is  possible  to  produce  a 
whole  edition  of  identical  copies,  with  \ery  little  labour:  and  this 
explains  the  great  popularity',  and  e\ident  cheapness,  of  moulded 
terracottas  in  all  subsequent  periods.  In  C^yprus,  howe\er,  the  old 
modelled  technique  survived  locally  until  the  Hellenistic  Age. 
Another  time-saving  device  was  to  use  the  potter's  wheel  to  fashion 
a  firm  core,  tubular  or  trumpet-shaped,  on  which  the  figure  could 
be  built  up  by  adding  head,  limbs,  and  clothing,  either  hand- 
modelled  or  pressed  in  moulds.  Sometimes  all  three  processes 
are  illustrated  in  the  same  figure:  2031-7,  2174,  for  example, 
have  a  wheelmade  body,  modelled  arms,  and  a  mf)uKled  head; 
in  2173-9  modelled  details  are  superimposed  on  ;i  mouKletl  surf;ice; 
and,  in  the  same  way,  male  figures  are  sometimes  made  h\  adding 
beards  and  helmets  to  moulded  female  heads.  Occasionallx',  iiu  isrd 
lines,  or  stamps  with  engraved  patterns  are  ust'd,  to  render  ihe 
texture  of  hair  and  f)ther  rough  surf;ices  (1455,  146M,  i4()(),  147?, 
2070,  2136,  2137). 

l.ike  the  vases,  terracotta  figures  are  rommonlv  enriciied  with 
painted  details,  executed  in  the  same  colours  and  stvlcs  as  :\n- 
ust'd  for  the  \-ases  (pp.  2^,  ()().).  l'suall\-  I  hrsi.'  colours  arr  :i)iph\'d 
dirfCtl\-  to  the  cla\-;  but  from  the  lourlli   ccntur)' onwards  a   richer 


THH    COLLlXniON    OF    THRRACOTTA    FIGURHS 

otlVct  is  obtainoci  hv  Lovcring  the  whole  surface  of  the  figure  with 
a  thick  coat  of  hard  limewash,  which  sets  with  a  smooth  surface, 
aiui  is  a  far  better  recipient  for  line  painting. 

USES    OF    TERRACOTTA    FIGURES 

As  Tomb  EguiPMEXT,  it  was  customar\'  in  Cyprus  at  all  periods 
not  onh'  to  proxide  objects  of  dail\'  use  which  the  deceased  might 
expect  to  find  at  hand  in  the  "other  world,"  but  also  repre- 
sentations of  them  in  other  materials,  it  is,  therefore,  common  to 
finii  in  tombs,  from  the  Bronze  .-Xge  onward,  models  of  furniture, 
domestic  animals,  chariots,  and  carts;  of  human  attendants  engaged 
in  \arious  occupations,  such  as  corn-grinding  and  baking,  militarx' 
exercises  and  religious  ceremonies;  and  of  guardian  deities  or  their 
shrines  and  sacred  objects.  For  this  purpose,  terracotta  copies 
otTered  a  cheap  and  read\-  substitute,  on  a  small  scale,  for  objects 
which  were  of  intrinsic  \aluc,  and  such  copies,  in  spite  of  the  difference 
of  material  and  their  actual  uselessness,  were  held  to  guarantee  the 
t'orm  and  utilit\'  of  the  objects  the\'  represented.  They  correspond, 
on  a  humble  scale,  with  the  stately  tomb-paintings  of  Eg\'pt,  and 
the  lifelike  models  of  boats,  granaries,  and  households,  in  painted 
wood,  which  arc  found  in  Egyptian  tombs  of  the  XII  Dynastw 
Though  there  is  no  precise  record  of  their  discover)',  the  terracottas 
in  the  Cesnola  Collection  are  with  few  exceptions  of  t_\pes  which 
are  known  to  occur  in  Cypriote  tombs. 

.A.S  \'oTivE  Offerings  terracotta  figures  offered  the  same  ad\'an- 
tages  of  cheapness,  permanence,  and  miniature  scale;  and  in 
addition,  the  ease  with  which  elaborate  groups  could  be  modelled 
and  built  up  in  a  plastic  material,  ga\e  cla\-  a  clear  ach'antage  o\-er 
stone.  The  purpose  of  \'oti\'e  offerings  and  the  principal  forms 
which  the\'  assume  ha\e  been  sufficienth'  described  in  dealing  with 
\oti\e  sculpture  (p.  i^S).  Good  examples  of  \()ti\e  terracottas  in 
this  Collection  are  the  ring-dances  21  iS-q,  which  consist  of  se\eral 
human  figures  dancing  with  hands  joined  around  a  musician  or 
a  sacred  tree;  the  masks  2133-7  perforated  for  suspension  on  the 
sacred  tree  itself;  and  the  cheap  figures  202 t  tT.  with  uniforml}' 
wheelmade  bodies,  hut  with  moulded  head,  and  arms  modelled  to 
hold  \arious  offerings,  or  engaged  in  characteristic  acts  —  lighting, 
nursing,  making  music.  The  latter  class  is  tound  in  thousands  on 
some  ol  the  smaller  sanctuaries;  notablx'  on  the  Kamelarga  site 
in  ancient  Kilion,  from  which  come  probabh'  2031-7. 
As  a  SiBsriruiE  f<jr  Stcjne  m  architecture,  for  cornices  and  end- 

33<» 


USES    OF    TERRACOTTA    FIGURES 

tiles  (akrotcria),  clay  never  found  the  extensive  use  in  Cyprus 
that  it  did  in  Sicily  and  other  parts  of  the  West;  less  on  account 
of  the  fragility  and  grittiness  of  the  cla\s,  than  because  formal 
architecture  of  anv  kind  was  uncommon  in  C^\'priote  sanctuaries. 
Clay  was,  however,  emploxed  occasionally,  in  place  of  stone,  for 
figures  of  very  large  size,  as  well  as  for  the  smaller  votive  figures. 
The  colossal  male  figure  from  Tamassos,  in  the  Cyprus  Museum, 
is  still  unique  in  point  of  size;  but  the  "Toumba"  site  at  Salamis 
has  yielded  a  number  of  heads  and  other  parts  of  statues,  of  life 
size  and  less,  vigorously  and  carefully  modelled  in  the  Oriental  and 
Archaic  Cypriote  styles,  and  enriched  with  elaborate  painting.  The 
best  of  these  are  in  the  British  Museum,  and  in  the  .Museums  of 
Oxford  and  Cambridge:  in  style  and  fabric  they  are  difficult  to 
distinguish  from  the  fine  heads  1452-7.  These  large  figures  were 
made  hollow  and  built  up  by  hand,  with  occasional  use  of  a  few 
simple  tools  and  engraved  punches  to  render  eyebrows  and  hair. 
They  appear  to  be  of  the  se\'enth  centur\'  B.  C.  .-Xnother  local 
fashion,  prcxalent  in  Hellenistic  times  at  Marion  and  Kurion,  in 
the  west  of  the  island,  gave  rise  to  a  real  school  of  funerary  portrait- 
modelling.  The  deceased  person  was  represented  seated  or  recum- 
bent, on  a  fairly  large  scale,  with  great  elaboration  of  hair,  wreath, 
and  drapery,  and  with  some  approach  to  individual  likeness.  The 
largest  of  these  figures  are  quite  half-life-size.  In  Floor-Case  X 
this  type  is  most  nearly  represented  by  1465-7. 

THE    SEQUENCE    OF    STYLES 

In  general,  as  we  should  expect,  the  style  of  terracotta  figures 
conforms  to  that  of  the  contemporary  sculpture.  This  has  been 
alread\'  discussed  on  p.  1 32  ff.  for  all  periods  when  stone  figures  were 
made;  that  is  to  sa\',  from  the  beginning  of  the  se\'enth  century 
onwards.  Before  this  date,  there  is  onl\'  the  evidence  of  other 
"representalne"  arts,  such  as  vase-painting,  jewelry,  and  gem- 
engra\ing,  to  confirm  the  conclusions  drawn  from  the  date  of  the 
terracottas  themselves,  where  this  can  be  ascertained.  Here,  as 
usual,  the  e\idence  of  tomb  groups  is  all-import;'nt;  and  fortunatel\-, 
as  has  been  noted  already,  terracotta  figures  are  to  be  found  in 
tombs  of  all  periods.  The  childish  clumsiness  of  the  early  hand- 
made figures,  in  all  periods  of  the  Bronze  Age,  confesses  the  diffi- 
cult}- of  day  modelling  in  untrained  hands,  but  seldom  wholi)' 
conceals  the  artist's  meaning.  Still  less  does  the  "simw-nian" 
technique  which  follows  in  the  l-'.arly   Iron  Age  disguise  the  keen 


IHE    c;()l.I.i;(:'H()N    OI-     IliRRACOTIA    mgurhs 

ohsorwition  aiul  "quaint  liumour  of  these  \illage  craftsmen:  the 
closest  parallel  is  oU'ered  h\-  the  xigorous  linear  symbolism  of  the 
more  rucieh'  engra\etl  cxlinders  and  other  earl\'  seal-stones:  com- 
pare 4nVS7  in  iIh'  (collection  of  l:ngra\ecl  Stones.  And  it  must 
be  remembered  that  almost  e\er\  grade  of  technical  skill  can  be 
illustrated,  from  the  rude  miniature  figures  of  the  snow-man  groups 
to  the  grand  lite-si/e  heails  (i4si-lf-)  which  are  exhibited  in  Floor- 
Case  X  and  describetl  on  p.  25(1  above. 

BRON/E    AGH:   BEFORE    1200  B.  C. 

In  the  F.arl\'  and  Middle  Bronze  Age,  all  the  principal  fabrics  in 
the  Collection  of  Potter\-  are  represented  by  modelled  figures. 
These  first  attempts  are  clumsx'  and  barbaric,  but  rather  for  lack 
of  skill  and  experience  than  through  pox'ertv  or  vagueness  of  idea. 
In  the  Later  Bronze  Age,  along  with  foreign  fabrics  of  pottery, 
foreign  st\ies  of  modelling  appear,  peculiarly  gross  and  unpleasing, 
as  is  all  the  religious  art  of  the  Sx'rian  coast,  from  which  they  seem 
to  originate.  Intercourse  with  Egypt  seems  not  to  have  begun  until 
the  great  artistic  school  of  the  XVIII  Dvnastx'  had  been  succeeded 
b}'  the  dull  conventions  of  the  XIX;  it  had,  therefore,  less  effect  on 
design  than  on  technical  processes.  The  Mycenaean  colonists, 
too,  contributed  little.  They  had  alread\'  lost,  before  their  arrival  in 
C\prus,  much  of  the  naturalistic  skill  which  inspired  the  plaster- 
reliefs  and  the  glazed  figurines  of  Knossos  in  its  "Palace-Period." 
The  figures  are  arranged  here  in  the  order  in  which  their  respecti\e 
fabrics  first  appear  in  the  earl\'  tombs.  .-\s  no  sanctuaries  of  an\' 
but  the  very  latest  phases  of  the  Bronze  .-Xge  have  been  recorded 
in  Cxprus,  it  is  probable  that  all  these  figures  formed  part  of  the 
furniture  of  tombs;  and  figures  of  each  kind  have  actuall\'  been 
found  in  tombs  of  the  Bronze  Age. 

FABRIC    I.    RED    POLISHED    WARE 

The  workmanship  and  approximate  date  of  this  fabric  have  been 
full\'  discussed  in  dealing  with  the  Red  Polished  N'ases  1-144  in 
\\'all-(2ases  1-^,  and  Floor-(Lase  I.  These  figurines  are  all  hand- 
modelled,  in  the  same  primili\e  technitjue  as  the  vases.  rhe\' 
should  be  comjiared  with  tlie  jilaxful  rendering  of  human  and 
animal  forms  on  the  necks  or  handles  of  the  potterw 
erra-  2001.  IIlman  |-'ic,l'ki:,  ver)'  roughlx'  modelled  as  a  flat  rectangular 
(2^5'^  slab  (jf  cla\',  with  a  smaller  rectangle  at  one  end  for  the  head. 

'  332 


BRONZH    AGE 

Incised   lines  and   dots    (filled   with   white,   as  is  usual  in  this  Terra 
fabric)  serve  to  indicate  e\es,  mouth,  hair,  and  a  collar   and  '^o"-' 
triple  necklace.     The  breast  is  bare,  and  the  arms  are  folded  ^^^^ 
across  it.      Below  are  a  few  oblique  lines  for  a  skirt,  from 
which  it   ma>-  be  inferred  that   the   figure   is   intended    for   a 
woman.      These  details  of  costume  are  here  \er\-  much  con- 


^A^ 


2004 


ventionali/.ed,  but  comparison  with  other  examples  of  this 
t>'pe  makes  their  meaning  clear.  H.  i  i  r',;  in.  II,  4. 

20f)2.  HiwiAN  Imoirh,  simiUirlv  modelled  as  a  straight-sided  slab 
with  roundeti  ends;  but  the  details  are  gi\-en  b\  lines  in  low 
relief,  not   by  incisions.  11.  (>«   in.  Doell,     x'w,  2,  S37; 

(>\prus,  PI.  \i.  1 1,  V 

2005.  Hl'.m.w  Imoiki-;.  simihirl\-  but  \er\'  roughl\'  modelled,  in 
a  later  manner  transitional  towar^ls  fabric  ii.  Details  are 
now  gi\en  both  hv  incised  and  b\'  rehef  f)rnament  ;  the  ears 
are  exaggerated,  and  jiierceii  se\eral  times.  The  use  of 
numerous  earrings  at  this  earh  jieriod  is  pro\ed  hv  the  occur- 
rence of  liea\\'  spiral  rings  ot  siKcr-lead  in  the  lombs:  see 
3000  a-d  in  the  ( Collection  of  ( )rnamenl  ^.     II.  S,',,  in.  Doell, 

xi\',  3,  (S^S;     (A[iru!i,  PI.  \  i.  II,  <>. 

I  AUKK;    II.     DARK    SI, IP    WARI-; 

lor  detailed   discussion   of  tlii^   fabriL,   wliiJi   a)i|ic;irs   first    in   the 
-Middle  Pjron/e  .Age,  see  X'aseN  151-172  in  Wall-CiaNc  4 

y>5 


THH    COLLF.CTION    OF    TFRRACOTTA    FIGURES 

erra-  201)^.     l"i:MALi-;  I'kuiri;,  nude,  ami  of  the  gross  proportions  char- 

^(^-,^^\  acteristic   of   figures    in    this    fabric.      Fhe   details    are   partlv 

1  modelled  in  relief,  partly  incised  with  a  sharp  point;  but  there 

is  now  no  white  filling.  H.   10 iS^  in.  Doell,  xiv,  8,  839; 

C\prus,  PI.  \  i.  II,  12. 

FABRIC    III.       WHITE    PAINTED    WARE 

For  detailed  discussion  of  this  fabric,  which  appears  first  in  the 

Middle  Bronze  Age,  and  runs  on  to  the  close  of  the  period,  see 

Vases    173-279    in    Wall-Cases    5,  6,   7.     Compare   especially    the 

animal-shaped  vases  209-225.  II,  7. 

2005.     Seati:d  FiGbRb,  in  a  high-backed  chair.     The  features  and 

details  of  dress  and  chair  are  given  quite  conventionall\-  in 

slightly  lustrous  paint  which  is  red  through  overfiring.         H. 

7I  in.  II,   7. 


2005  2007 

2006.  Fi-MALE  I'lGURE,  Standing,  with  the  right  hand  held  across 
the  body.  H.  2i'',;  in. 

2007.  Nursing  Mothhr,  with  a  child  on  her  knees,  and  her  hands 
raised  in  adoration.  f  his  is  a  ver\'  early  example  of  a  maternal 
type  which  has  a  long  and  famous  historx'  in  art.  But  as  the 
woman  makes  a  gesture  of  worship,  she  is  here  not  the  .Mother 
Goddess,  but  an  earthly  votarv.  Yet  the  figure  seems  to  be 
funerary  like  the  rest  of  this  group,  and  illustrates  therefore 
the  continuity  of  the  whole  range  of  types,  both  funerary  and 
votive.  H.  4  in.  II,  3. 


334 


BRONZE    AGE 


FABRIC    VI.    BASE-RING    WARE 

This  fabric  begins  in  the  Later  Bronze  Age;  it  has  been  fully  dis- 
cussed under  \'ases  318-365  in  Wall-Cases  9-10. 

2008.  Bull,  modelled  hollow  in  the  same  fashion  as  the  \'ases 
333-337  in  Wall-(]ase  9,  but  without  opening  or  handle;  it  has 
simple  ornaments  in  dull  white  paint;  but  the  e\"e  is  in  relief 
like  that  of  the  female  figures  2009-2013,  which  are  of  different 
cla\',  and  unpainted.         L.  yl  in.         Doell,  x'w,  25,  930. 

2009-2013.  Fhmale  hiGLRHS,  uude  and  of  characteristic  gross 
proportions,  with  bird-like  face  and  enormous  ears,  perforated 
to  hold  large  clav  earrings  which  hang  loose.     The  eves  are 


1  erra- 

cotta 
C:ase 
1 


given  by  prominent  pellets  of  clay,  as  in  2008;  the  mouth  and 
other  details,  by  incised  and  punctured  lines,  careless  but 
\'igorous.  The  cla\'  and  handling  are  not  exactl\'  like  those 
of  the  ordinary  Base-King  Ware  of  (^\prus,  but  resemble 
rather  the  closel\'  related  fabrics  of  the  S\'rian  coast. 
Ms.  8  in.—  y]  in.  Doell,  xiv,  7,  840  (2011);  (aihus,  p.  i()4 
^2012) ;  cf.Perrot,    fig.    374-3.  11,   10,   i ',,  S,  11   l2tHH)-\2). 

1  his  remarkable  t\-pe  has  been  found  not  onl\'  in  lombs  in  (^.vprus, 
but  also  all  through  the  Syrian  coast,  huth  in  tombs  and  on  in- 
habited sites;  rarely  in  i'-g.vpt  during  the  X\lll  l)\nasl\-,  uheii 
S\rian  fashions  were  in  vogue;  and  more  Lommoniv  on  man\'  sites 
in  l)ah\lonia,  aiul  at  Susa  in  the  Persian  highland  be\-onJ.  In 
Fgvpt,  as  in  (^>prus,  the  t>'pe  is  clearly  intrusive;  and  the  sinnlar 


I cira- 

CdU.l 

Case 
1 


mil  coi.iiA.noN   c)i    riiRRAcoiTA   figlri-s 

rcprosontalions  on  Babxionian  (.-x-lindcr-seals  make  it  clear  that 
it  represents  the  .^real  Babylonian  (joJJess  Ishtar,  whose  worship, 
under  kindred  names  (Ashloreth,  Astarle),  is  recorded  to  have  been 
widesj-iread  in  all  the  regions  wliere  such  figures  are  found.  The 
monstrous  earrings  of  the  ('.\priote  tigures  ha\e  been  thought  to 
alkiLle  to  the  nntli  of  Ishtar's  descent  into  the  Lower  World  and  the 
successixe  surrender  ot  her  ornaments  at  its  barriers.  A  goddess 
who  had  thus  "o\ercome  death."  was  the  sure  protectress  of  her 
worshippers  when  thev  came  to  make  the  same  journex'.  Then, 
b\-  a  familiar  transference  of  function  and  attributes  from  deit\'  to 
\otar\'.  which  it  is  interesting  to  find  as  early  as  this,  these  pecu- 
liarities of  the  goddess  are  repeated  in  figures  whose  actions  show 
that  the\-  are  htmian.  I'luis,  whereas  the  hands  (jf  2010,  201  i 
support  the  breasts  with  a  gesture  s\mholic  of  the  .Mother  (ioddess 
herself,  the  attitudes  of  2012,  holding  a  fluttering  bird  (probabl}' 
the  lIow,  which  in  later  times  was  s\mbolic  t)f  this  deit\'),  and  201^, 
offering  a  child  which  raises  its  hands  in  adoration,  are  clearl\' 
meant  to  be  human  xotaries,  onl\'  partl\'  "made  one  with"  their 
patroness.  For  a  recent  discussion  of  this  t\pe  see  Fritze,  Jabr- 
hiich  J.  hntiiiils  XII.  199  ff. 


FABRIC   IX. 


COARSE    PAINTED    WARE 


The  fabric  of  potlerx'  to  which  these  figures  belong  is  not  represented 
in  this  Collection  except  hv  the  fragmentar\'  duplicate  393  in 
Wall  (^.ase  11.  I'hcre  are,  howe\er,  in  other  collections  a  ver\' 
tew  wT^cs  of  the  same  make.  I'he  onh'  ones  found  in  recordeii 
excaxations  are  from  late  .M\cenaean  tombs  at  Fnkomi  near 
Salamis  (  lirit.  .Mus.  C'*?/.  /  ascs  I,  ii,  i()i2,  Nos,  C^  7^2-735,  and  figur- 
ines like  2014-1(1  were  found  on  the  same  site  (Brit.  Mus.  Cat. 
1  crrdcoftdf.  i<)o^  Xos.  A  i()-2i:  lixi-aiatioiis  i)i  Cypnts.  iS9(),  fig, 
(17  [ioStJ.  Idu-ir  relati\e  dale  is  tiierefore  certain.  In  the 
slimx-  qualii\-  of  the  cla\-.  and  the  handling  appropriate  thereto, 
thi<  fabric  reseiiibles  most  nearh'  the  paintetl  \ariet\-  of  "Base- 
Riiig  Ware"  1  f^abric  \  i.  a.  in  Wall-Case  ()\  to  which  the  modelled 
bull-\ase  200S  belongs;  but  the  use  of  black  paint  instead  of  white 
Separates  ii  decisi\el\-  from  the  Painted  Base-Ring  Ware,  and  the 
introeluction  of  red  paint  anticipates  the  wheelmade  While 
Fainted  Ware  of  the  i;arl\-  Iron  .\ge  (b^abric  xiv,  in  Wall-Cases 
i.}-It).  I  his  red  paint  is  often  of  \er\-  bright  tone  anel  dust\- 
texture;  the  black  is  dense  and  soot\-. 


^K) 


BRONZE    AGB 


2oi^-]6.  Fi-.MALB  FiGi'RHs,  nucic,  cxcofit  for  a  broad  ccillar  of 
red  paint,  cd^ed  with  black;  erect,  or  perhajis  recumbent,  to 
judge  from  the  pose  of  the  feet.  I'he  tace  is  bird-like,  with 
large  e_\'es  formed  of  separate  pellets  of  cla\-,  like  those  of 
2008.  The  hands  of  2014,  2016  are  pressed  to  the  breasts,  as 
in   2010-11;   those  of   2015    fall    by   the  sides.  Hs.  (S,",,  in., 

8§   in.,   6   in.  Doell,   xi\-,   9,   841    (2014);    10,   850    (2015); 

Cyprus,  PI.  vi.  II,  15,  14,  17,  (2014,  15,  16). 

2017.  OwL-SHAPbD  Rattlh  of  the  same  Late  Bronze  .Age  Fabric  of 
Coarse  White  Ware  as  387-8,  with  a  few  bands  of  dull  i^aint. 

FAtiRIC  XII.      GENUINH  MYCENAE.AN   WARE   WITH 
LUSTROUS    PAINT 

This  fabric   is  characteristic   of  the   Later    Bronze   .Age:   see   the 
description  of  the  \'ases  417-452  in  Wall-Clase  12  and  bdoor-Case  111. 

2018.  Ft.MALE  FuiURH  Fnthronhd,  in  a  three-legged  chair  with 
rounded  back  and  arms:  the  figure  raises 

its  hands  in  adoration,  and  therefore  is  a 
worshipiuT,  not  a  deity.  Rather  coarse 
w(jrk,  not  much  in  advance  of  the  White 
Painted  Ware,  Fabric  iii.     H.  3  iV  in.     11,2. 

2019.  Fhmale  Figure,  erect,  on  a  conic;i! 
base,  with  uplifted  arms,  small  pincheti 
face,  and  circular  head-dress.  Dashes  ol 
lustrous  paint,  normalh'   black  or  brown, 

but  red  when  (jver-lired,  are  used  \aguel\'  to  render  details  of 
costume.  The  type,  whicii  is  highl\'  com  enlionalized,  origin- 
ated (»n  .M\cenaean  sites  in  the  .Aegean,  such  as  AU'cenae 
itself,  ami  was  rejieated  unintelligentl}'  b\-  nati\e  potters  alter 
the   Al\cenaean  colonization  of  ('vjirus.  11,  i. 

The  throne  which  iN  figured  in  .\tlas  II,  l.x.w  iii,  703-4-5  is  not  now 

in  the  C(jllection. 

F.AKLY    IRON    ,\CF:    d  R.AX'Sll  ION  \l.    WD    Cl-.O.M  i:  1- 

RICAL   PI-:RI()r).S;    .\P.()Ur   1200    750   B.  C. 

Willi   LAll-R   SURVIVALS 

SMALL    Llf,i;RLS     IN   "sNOW-.MAn"     I  I.Ci  1  N  IOU  I-.     MODiiLl.LI)     HV    HAND 
WniKH    L    I   '-1:    or     A     Mol    LI) 

In.  the  I'.arly   Iron  .Age,  though  in  most  oihrr  di'iKirl  ments  arhAlic 
expressicjn   is  reduced  to  a  gecjiiielnc  and  mainl)'  rectihnear  sl\le, 

337 


1  erra- 

cot  ia 
Case 
I 


TUn    COLLI-CTION    Ol      IHRRACOTTA    MGURHS 

l^'rra-  the  terracottas  show  surprising  \igoiir  anti  frectlom  of  conception. 

V-  '^  riie  artist's  ell'orts,  ho\ve\er,  are  liampereJ  b\'  nietliods  of  execu- 
1  tion  so  crude  ami  infantile  as  to  cieser\e  the  name  "snow-man" 
technit]ue  which  is  commonl\'  applied  to  them.  Many  of  these 
figures  are  onI\-  modelled  at  their  upper  end,  and  are  supported 
on  conical  or  trumpet-shaped  bodies,  the  wheelmade  construction 
of  which  has  been  already  described  (p.  329).  ihe  commonest 
subjects  are  animals  and  men,  the  latter  engaged  in  horse-riding, 
chariot-tighting,  and  \arious  other  occupations.  The  figures  are 
all  \er\'  small,  and  modelled  entirelx'  bv  hand,  without  the  aid  of 
an\-  mould.  As  a  rule,  the  faces  show  in  relief  only  the  nose,  chin, 
and  ears,  the  e\es  being  marked  in  black  paint,  and  the  mouth  in 
black  or  red.  Head-dress,  jewelr\-,  and  other  details  are  added  in 
separate  bands  and  pellets  of  cla\',  which  inevitably  exaggerate 
their  size,  as  in  the  monstrous  earrings  of  2009-13.  Sometimes,  like 
the  e\'es  and  mouth,  the\'  are  indicated  roughl}-  by  paint,  and  more 
rarel\'  b\'  incised  lines.  But  the  \'igour  and  spirit  of  these  little 
studies  of  dail\'  life  is  remarkable,  hardly  approached  by  any  school 
of  modelling  between  the  XVIII  Dynasty  and  the  dawn  of  the 
great  age  of  Greece. 

This  "snow -man"  st\le  began  apparently  quite  early  in  the  Iron 
Age,  probably  not  later  than  1000  B.  C;  and  continued  in  use  until 
the  sixth  centur\-,  side  b\'  side  with  the  "moulded"  fabrics  of  the 
period  of  Oriental  influence.  It  is  found  both  on  sanctuar}'-sites 
and  in  tombs.  In  default  of  evidence  as  to  the  exact  date  of  each 
object,  all  the  examples  of  this  technique  have  been  grouped 
together   here  provisionall\'  on  the  sole  ground  of  style. 

2020-24.  Malh  Vot.vriiis  of  coarse  primitive  work.  The  body  is 
c\iindrical,  solid,  and  wholl\'  made  b\'  hand,  not  on  the  wheel. 
The  head-dress  of  2020-21  and  the  collar  of  2022  are  added  in 
separate  strips  of  cla\'.  There  are  no  painted  details.  The 
gestures  express  adoration  (2021)  or  homage  (2024).  The 
high  conical  cap  of  2023  is  characteristic  of  the  votaries  of  a 
small  rural  sanctuarx'  near  ancient  Soloi  ((^..M.C.  5402-28). 
Hs.  9;;  in. —  5:s  in.  Perrot,  fig.  390. 

II,  224  (2020),  150  (2021),  225  (2023),  99  (2024). 

2025-29.  N'orAKM.s  of  more  elaborate  work,  with  columnar  bodies, 
trumpet-shaped  below,  and  formed  hollow  with  the  aid  of  the 
potter's  wheel.  Into  the  upper  end  of  this  bod}-  a  hand- 
modelled  head  is  thrust,  and  secured  with  soft  cla\';  arms  and 


EARLY    IRON    AGE 


other  details  are  added  separatelx',  and  there  is  copious  use 
of  black  and  red  paint,  especially  on  2027.  The  high  square 
head-dress  of  2025-6-7  is  characteristic  of  the  earliest  stage 
of  this  st\ie.  The  beard  of  2025,  and  the  pointed  cap  of  2029, 
show  them  to  be  males.  This  cap  represents  the  (I\-priote 
helmet  worn  b\'  looi  ff.  in  the  Collection  of  Sculpture.  The 
rest  arc  probably  females,  and  the  painted  garments  of  2027 
seem  to  preserve  the  characteristic  jacket  and  skirt  of  the 
Minoan  women;  a  remarkable  survival  of  costume  from  the 
Bronze  Age.  The  same  dress  is  shown  more  obscurel}'  on  2026. 
Hs.  9I  in. —  ~l  in. 

II,  00  (2025),  87  (2026),  91  (2027),  89  (2028),  59  (2029). 


i'erra 
cotta 
Case 


2U2<, 


2028 


20  V> 


2030-39.  Ki;MALH  \'()TARihs  of  similar  but  later  fabric.  The 
bodies  are  wheelmade  as  before,  but  the  faces  of  2030-37  bear 
the  impress  of  a  shallow  mould,  and  mark,  therefore,  a  transi- 
tion to  the  Period  of  Oriental  Influence.  The  wa\'  in  which 
these  heads  arc  inserted  in  the  bodies  is  well  seen  in  2034. 
The  faces  arc  alwa}'s  painted  red,  and  the  hair  and  e\es  black; 
occasionalh'  white  also  is  used  for  the  e\es.  The  clothing  is 
rendered  obscurel}-  b\-  Icniches  of  black  with  some  red  (203S); 
and  \'ellow  occurs  in  other  examples. 

These  v(jtaries  pla\'  the  tambourine  (20^0-4)  or  a  l\'re  (203s). 
or  (jifer  a  cup  or  Denver  (20^0)  or  a  kid  (2037),  or  carr\' 
on  their  heads  amphorai  of  luirh'  Iron  .Age  form  and 
''wax  \-line"  ornament  (203S-9).  i'mni  the  cki\- and  handling, 
20^1-7  ma\'  be  recngni/rtl  .is  coming  frmn  tlie  Kaini-kirga 
site  at  Kilion  ('(^..M.C^.  ssoi  tf.),  wliiLli  was  furl  hi'r  f\^a\aled 
in  i<S94.  lis.  <S|'„  in.        3  in.  Doell,  \\  ,  7,  S''^.)  (20^7); 


iyj 


Tin;  coi.Liici  ION  of  ti-:rracotta   figures 


Tcrra- 
cotta 
Claso 


204O 


CN-prus,  p.  so  (2()3s).  li,  43  (2030),  39  (3021), 45  (2032),  175 
(2034),  32  (2035).  I77(2<'36),  188(2037),  154(2038),  158(2039). 
2040-49.  iMAi.r.  \'oTARii;s  of  similar  fabrics,  but  of  types  which 
are  commonh'  found  not  in  sanctuaries  but  in  tombs.  'l"he\' 
ha\e  copious  black  and  red  paint  in  the  same 
emphatic  stxde  as  the  earh'est  geometrical 
vases  in  \\'all-(2ase  14.  Their  base  is  usuall\' 
\er\'  wide,  to  serve  as  a  bell;  the  clapper 
was  secured  through  a  small  hole  near  the 
apex:  compare  the  clay  bells  741-6  in  Wall- 
Case  21.  Some,  however,  have  no  clapper 
hole  (2040,  2047-49),  or  e\en  have  solid 
bases,  which  are  not  wheelmade.  These  fig- 
ures, like  the  previous  groups,  all  perform 
ritual  acts:  2040  presents  a  child,  2041  a 
kid,  2042  a  large  bowl  for  a  drink  offering; 
2043  pla\s  the  double  flute,  2044  ^he  l}Te, 
left-handedl\',  2049  the  tambourine;  2045,  who  wears 
the  cross-belts  of  a  warrior,  raises  his  hands  in  adoration; 
so,  too,  does  2048,  who  is  bareheaded:  the  rest  all  wear  the 
same  pointed  cap.  The  masked  dancer  2046  should  be  com- 
pared with  the  stone  figures  1029-31  in  Wall-Case  30:  he  wears 
a  bull's  head  mask,  and  is  lifting  it  ofT  by  the  muzzle.  The 
long  flexible  object  wound  about  the  shoulders  of  2047 
ma\'  be  a  serpent:  as  he  holds  a  flute  to  his  mouth  he 
may  be  a  serpent  charmer  like  the  stone  figure  1022  in  Wall- 
Case  30.  Hs.  6|V  in. —  3  i'',i  in.  Doell,  xv,  6,  876  (2040); 
4,  875  (2042);  C\prus,  p.  51  (2046),  p.  2f)3  (2041);  Perrot, 
fig.  403  (2041). 
2050-62.  VoTARiHS,  all  beardless,  but  not  necessaril}-  female. 
The\-  are  enlirelx'  modelled  b\'  hand,  and  2050-54,  2057-8, 
2060  wear  hea\\'  head-dresses,  applied  separately';  2051  has 
rich  collars  also,  and  2055  a  wreath  of  flowers,  or  perhaps  a 
rosetted  frontlet  like  the  stone  figures  125 1-3  in  Floor-(]ase 
XI.  ']"he  face  of  2o()2  ma\'  ha\-e  been  pressed  in  a  mould, 
like  20^0-37;  the  rest  are  entirel\'  mcxlelled  b\-  hand.  The\- 
carr_\-  birds  (20S0),  or  meat  and  drink  offerings  (2060),  or  offer 
children  (2061-2),  or  pla\'  tambourine  (2054-6),  Ivre  (2057-8), 
or  flute  (205()).  Hs.  8',,';  in. —  2  {\i  in.  Compare  Perrot, 
fig.  376.  II,  151  (2050),  48  (2053),  40  (2035^.44  (2056), 
31    (2f)57),  34    (2058),    33    (2059),  85    (2060),    181     (2061). 

340 


EARLY    IRON    AGE 

MISCELLANEOUS    FIGURES    IN     "  S\()\\-.MAN  "    TECHMOUE 

These  figures  are  often  found  in  tombs  of  tiie  Period  of  Oriental 
Influences:  the\'  represent  a  prolongation  of  the  "snow-man"  tech- 
nique into  a  phase  in  which  it  is  touched  already  by  Oriental  and 
even  by  Hellenic  influences.  They  are  of  importance  as  exidence 
that  this  primiti\'e  st\ie  lingered  on,  side  by  side  with  the  new 
technique,  at  least  until  the  sixth  century. 

2063.  Male  Votary',  carr\ing  a  kid  and  a  dish  of  sacred  cake. 
He  is  represented  in  Oreek  fashion  as  nude,  except  for  shoes 
and  a  scarf,  whereas  the  earl\'  male  figures  in  the  native  st\ie 
are  either  trumpet-based  or  fully  clothed.         H.  4I  in. 

2064.  Herakles,  standing,  in  tunic,  belt,  lion-skin,  and  club; 
he  raises  his  left  hand.  A  miniature  studv  of  one  of  the  most 
popular  t\pes  of  stone  sculpture,  in  unusually  careful  work- 
manship, with  man\'  touches  of  black  and  red  paint;  probabl\- 
about  600  B.  C^.  Compare  the  series  of  stone  figures  of 
Herakles  in  Wall-Case  37.         H.  3  1 ';  in. 

2064  A.  Herakles,  in  a  rather  later  st\'le,  showing  some  Oriental 
influence  but  still  whollv  modelled  b\-  hand.  He  is  bearded 
and  wears  a  helmet  with  cheek-pieces  let  down,  a  tight  vest  and 
fringed  belt,  and  a  quiver  on  his  back.  He  turns  to  the  riglit 
and  draws  his  bow  (broken  awa\-)  with  his  right  hand,  which 
is  preserved  iji  front  of  his  neck. 


Terra- 
cotta 
Case 


2065.  Centaur,  of  archaic  Creek  l\pe,  with  human  forelegs;  he 
is  bearded  and  wears  a  sori-poinicti  hehm-t,  of  nali\-e  form, 
and  a  red-jxiintcd  shieki;  probabl\-  about  doo  H.  C. 
H.  4:^  in.  Prrrot,  I1-.  411.  H,  2IS. 


Tun  coi.MU.rioN  of  tfrracotta   figures 

'-''■'■■I-  20(){)-(k).      Monki-.is  seated,  eating  (2067,  2()()()),  or  offering  some 
V-"''  object  (2()()<S):  2o(m)  nia\'  be  meant   for  a  Sat\T.      These  gro- 

2  tescjiie  tigures  should   be  compared  with  the  monke\-shaped 

ar\ball()i  of  Corinthian  fabric,  which  are  found  occasionally  in 
Greek  tombs  of  the  seventh  century.  For  the  peculiar  surface 
and  paint  of  2o()()   compare   2093,   2132.  Hs.  4'in  in. —  2§ 

in.  II,  2;g.  <S2,  221,  CS3    (2066,  67,  68,  69). 


FIOLKt^S    OF    ANIMALS,    2070-2087 

These  figures  are  executed  in  various  st\'les  akin  to  the  "snow-man" 
technique,  and  range  in  time  from  the  Earliest  Iron  Age  to  the 
period  when  the  native  st\le  began  to  give  place  to  Greek  fashions, 
in  the  fifth  century.  Later  figures  of  animals  belonging  to  the 
Hellenistic  Age  are  described  separately  below,  2271  ff". 

2070.  Bull,  modelled  in  white  cla\'  in  a  ver\'  earl\'  st\ie,  remin- 
iscent of  the  Ahcenaean.  It  probably  belongs  to  the  Period 
of  Fransition  (1200-1000  B.  C.).  Fhc 
smooth  modelling  of  the  bod\',  the  deep 
wrinkles  round  the  prominent  e\'es,  and 
the  use  of  an  annular  punch  to  render  the 
curlv  hair,  are  unusual,  and  without  close 
parallel  in  (^\prus.     H.  7:]  in.    II,  674. 


erra- 
cotta 
(^ase 


2073 


2071-3.  Bill's-Hhad  .\F\sks,  perforated 
for  suspension,  like  the  human  masks 
2133-6  below.     The    rosette    between    the 

horns  of  2073-4  shows  that  the  animals  which  it  represents  were 

sacrificial.  Hs.  4I  in. —  i  1  •/,  in.  11,  109  (2071),  681  (2075). 
2076  a,   b,   c.     Bull,    Ram,   and  Goat,   modelled   in   the  normal 

"snow-man"  technique  with  painted  details.     Hs.  3|in.,  3^  in., 

4]  in. 

2077.  II HAD  OF  A  Bat  or  Fox,  vigorousl\-  and  naturall\-  modelled 
on  a  medallion  for  suspension.  We  ma\-  compare  the  voti\e 
figures  of  weasels  and  other  vermin  found  in  the  .Middle  .Minoai: 
sanctuarx-  of  Petsofa  in  Oete:  the\-  illustrate  the  practice  of 
"dexoting"  an  enem\'  to  divine  punishment,  in  the  same  wa>' 
as  the  worshipper  offers  himself  for  dixine  blessing.      H.  3  in. 

207.S-81.  HoRsi-.s,  with  characteristic  long  neck  and  stiff  mane 
rising  to  a  crest  above  the  cars.       Fhe  copious  black  and  red 

342 


20Sl 


EARLY    IRON    AGE 

ornament    is    [Kirtl\-    goomelrical    and    arbitrar\',    but    partl\- 

represents  the  horse-trappings,  which  are  gi\en  also  in  relief 

on   207Q.      Compare  the  stone  horse   101 -> 

in  Wail-Case  29.     The  pointed  cap,  painted 

yellow,  which  is  worn  by  2080,  is  probably 

a  jest  of  the  artist:  for  other  examples  of 

\ellow  paint,  see  Index.     The  two-headed 

horse  20(Si  is  probabl\-  intended  to  represent 

a  pair  of  horses  like  20()(i-7  below.      Us.  i  1 

in. —  74  in. 

11,  64s  (207(S),  646  (2079),  ()43  (2081). 

2082-85.     AssHS,  similarly  modelled,  but  easilv 
distinguished  from   the  horses.      Vhcy  are 
laden  with  a  pair  of  large  panniers  of  rush- 
basketrx',  2082-4,  such  as  are  still  used  in 
Cyprus:  in  the  panniers  of  2084  are  large  wine-amphorai  of 
a  form  characteristic  of  the  se\enth  and  sixth  centuries.     On 
2084-5  '"''-'•^  bearded  men:  the  rider  of  2085  sits  sidcwa\'S,  and 
holds  on  by  the  neck  of  the  ass.     Hs.  5s 
in. —  3I  in.  Doell,  xi\-,   12,  q^j  (2082), 

xi\',  17,  942  (2084);  Colonna-(  A'ccaldi 
Mominu'iits,  p.  1  u,  figs.  1-3  (2082-3-4). 
("vprus,  p.  140  (2082),  p.  164  (2085); 
Perrot,  fig.  394  (2082),  fig.  395  (2084). 

11,  106  (2082),  104  (2083),  105  (2084'). 
()52   (2085), 

MIUTARV     MCLJRHS:    CAVALRY,     WARRIORS,    CHARlOrS 

These  fall  within  the  same  limits  of  st\ie  and  probable  date  as  the 

previous  groups,  as  is  seen   from  the  iilenlical   treatment  of  horses 

with  and  without  riilers.      Probabl\-  most  of  these  figures  are  from 

tombs:   but    warrior-\()taries   are   often    fount!    in    sanctuaries;    for 

example,  at   tin'   KamiTirga  site  in  the  sl\le  of  2o>,  1-7.      (Compare 

the    stone    figures    of    warriors,    horses,    and    chariots     101  5-1018. 

2(j8()-20()5.      lloRsi-s    wrm    Riui-,rs;     all    with     bright    black    and 

red  colour:   compare  tin'  stone   horsemen   1014-1^-       llie   |iose 

ol    the   rider   \;irit's    in   di'tail.      2oS()  sits  si(.lewa\s,   lil\i.'    JoS^, 

on  a   fringeil  saddK'-clolh :  20S7  semis   id  sit    with   his   leel    on 

the      horse's    shoulders;     2oSN-()2    show    no    legs    :il  all,     aiul 

hold    on    i\\'    the    mane;    in    2o()5-4,    on  the   other    li;iiid,    the 

k-gs    are    full\-    modelled.      Some    of   the    riilers    are    w:irriors; 


Terra- 
cotta 
Case 


343 


THI-:    COI.LliCTION    Ol      ri;RRA(:()  I  lA    MGURF.S 


lerra- 

Lutta 

Case 

3 


2()S(),  2001-4,  wear  pointed  holniets,  hut  2093  has  a  helmet 
with  a  long  fore-and-aft  erest,  h'ke  that  of  the  (Ireek  hel- 
mets of  the  Harl\'  Iron  Age;  he  also  carries  a  sword  and  round 
shield,  and  his  horse  has  a  breast-band  in  relief,  like  that  of 
the  modern  (]\priotc  saddle  (strafoiiri),  with  central  orna- 
ment and  tassel  or  fl\-whisk.  On  2094  the  whole  bridle, 
with  its  tassels,  is  rendered  in  relief.  Instead  of  the  custom- 
ary black  paint,  2095,  \vhich  is  in  a  rather  different  cla\-  and 
of  ruder  handling,  has  greenish  blue,  like  the  vases  747-750;  and 
the  red  is  of  more  crimson  tint.  On  2094-5  is  the  same 
chalk\-  white   slip   as  on  2066,  2132.     The  green  tint  of  the 


2093 


2099 


cla\'  of  2090  is  due  to  underfiring.      Hs.  9r^H  in.  —  5  iVr  in.    C\p- 
rus,  p.   150  (2088-92);     Perrot,  PI.  ii   (p. 582). 

II,  636  (2086),  649   (2087),  651    (2088),  648  (2084),  654 
(2090),  633    (2092),  655    (2093),  639   (2094),  634  (2095). 

2096-7.  Pairs  OF  FIorses  with  Ridhrs.  The  horses  are  modelled 
with  a  single  b()d\',  like  2081.  These  pairs  of  horses  recall 
a  phase  of  warfare  in  which  the  horse  was  still  used  mainl\' 
as  transport,  to  convex-  a  heavx'-armed  warrior  to  the  scene 
of  action.  When  the  warrior  alighted,  tlie  horse  was  held 
in  reser\e  b\  a  groom  ibipposfropbos),  who  was  himself  mounted 
so  as  to  keep  pace  with  his  master.  The  rider  of  20()()  is  perch- 
ed like  a  \ase  handle  between  the  horse's  back  and  neck:  he 
ma\'  perhaps  be  intended  to  represent  a  trick-rider  like  the 
ki'h's   described    hv    Homer:     but    compare    the    attitude    ol 


2087. 


Hi 


,1  in.,  6:*  in.  Doell.xiw  21,  934  (2097). 

1 1,  644,  642. 

2098-2101.     W.ARRioRs,  represented  standing  on  foot,  with  c\iin- 

drical  wheelmade  bodies  like  2050-9.      Ihey  all  carry  a  round 

344 


EARLY    IRON    AGP; 

shield  on  the  lefl  arm,  and  raise  the  right  as  if  to  throw  a  I  erra- 
spear,  except  2100,  who  grasps  the  edge  ol"  his  shield.  Their  ^^^^^ 
helmets  var\-  in  form:  2oc)H  wears  the  nati\e  cap  with  nose-  3' 
guard,  and  soft  peak  hanging  forward;  20()()  has  a  high  fore- 
and-aft  crest  like  the  heav\--armed  infantr\-  of  Ass\-ria  in  the 
eighth  and  seventh  centuries;  2100  has  a  stifT-peaked  helmet 
with  cheek-pieces:  its  nose-guard  is  rendered  in  paint  onl\'; 
2101,  (jn  the  other  hand,  seems  to  wear  the  high-pointed 
Persian  kurbasia,  with  long  side-lapels.  (Compare  the  hel- 
mets of  the  large  terracotta  heads  1431  If.  in  l'loor-(^ase  X, 
and  the  life-size  stone  heads  125 1  ff.  in  Floor-Cases  XI,  XIII. 
The  shields  of  2008-2100  are  of  the  circular  form  which  is 
common  to  Greece  and  the  Levant  in  the  Early  Iron  .Age. 
On  the  other  hand,  its  pointed  boss  is  not  (jreek,  but  common 
to  C\prus  and  Ass\Tia:  compare  the  bronze  shield-boss  4754 
in  the  Bronze  Room.  The  ra\-ornament  of  209(S  and  2100 
recurs  on  the  clav  shields  554-533  in  \Vall-(]ase  13,  which 
may  very  probably  be  voti\e.  The  concentric  red  and  black 
rings  of  20()()  recall  the  kykloi  of  the  Homeric  shields,  which 
are  of  bronze-bound  ox-hide.  The  shield  of  2101  is  of  the 
Boeotian  t}'pe,  o\al,  with  concave  side  margins,  and  emphatic 
rim:  this  shape  is  often  represented  in  Greek  art  of  the  sixth 
and  fifth  century,  but  it  has  a  long  historx',  and  can  be  traced 
in  the  Aegean  as  far  back  as  the  close  of  the  .Mycenaean  Age. 
Hs.  6|'',i  in.  — 4iV,  in.  Doell,  xv,  5,874  (2100);  C-\prus,  p.  203 
(209H,  2100).         Perrol,   PI.  ii  (p.  582). 

11,  239  (2o()<S),  2()3  (2(K)()),  67  (2100),  258  (2101). 

2102.  Gr(;li'  oi-  Warriors,  in  pointed  helmets,  of  whom  the  one 
strides  forward  brandishing  a  spear  and  bossi'd  shield  like  2o9(). 
Under  co\er  of  this  shield  the  other  warrior  shoots  with  his  bow: 
his  ciui\er  and  arrows  are  clearK'  show  11  behind  his  left  shoulder, 
(^omjiare  the  Homeric  description  of  ihe  hero  leu>.er  shooting 
from  beneath  the  shield  of  his  brotluT  ,\jax.    11.  s^  ''i-     ''■  74- 

2105-4.  ll(:Ai)s  or  Warriors,  in  the  (^xjiriole  helmet,  with  details 
in  black  and  red.  Ms.  2^  in.,  5:,'  in.  11,  M<)  (2104). 

2105-0.      Imjir-iiorsi,  ( JiARiors.  with  onr  or  two  occup;inls  wear-   icrr.i- 
ing    helmets    or    peaked    caps.      Compare    the    stone    chariots  ^""-i 
loi()-l7  in   Wall-Case  2().       I  In-  wheels  of  jioO  were  srpar.ite,     " 
and  are  missing;  the  other  chariots  ha\e  their  wheels  adhering 
to  the  car.      Details  of  the  pole  and   voke  are  wril  shown    in 


TIIH    COLLl-.C.nON    OF    TF.RRACOTTA    FIGURES 


orr.i- 

Ldtla 

Claso 

4 


2i()().  In  the  back  of  the  car,  2uk),  lies  a  round  shield  with 
bull's  head  boss:  cttmpare  the  bronze  shields  with  lion  and  eagle 
bosses  from  the  Idaean  (la\e  in  Oete,  which  belong  to  the 
same  period  of  Oriental  Intluences  as  these  ligures;  and  the 
eagle-frt)nted  helmet  of  the  large  stone  head  1284  in  Floor- 
Case  XIII.      Hs.  (),'  in.  -  )l  in.         II,  630,  632,  628,  626,  627. 

SC;i:Nt-.S    AM)    OBJhCTS    OF    DAILY    l.ll-H 

These,  like  the  militar\'  figures,  are  rendered  in  the  "snow-man" 
technique  with  characteristic  \igour  and  freedom,  and  probabl)' 
all  belong  to  the  later  part  of  the  Early  Iron  .Age. 

2110-1S.  r\\()-wHi-.i:LiiD  C.ARrs,  of  a  tvpe  which  is  represented  in 
.-\ss\  rian  sculptures,  and  still  used  in  C\'prus.  It  has  low 
sides  and  open  ends,  and  the  cla\'  models  ha\e  a  socket  in 
front,  to  hold  a  wot)den  pole;  the  wheels  were  made  separatel\-, 
and  ran  on  wooden  axles,  like  those  of  the  cla\-  horse-shaped 
vase  y2()  in  Wall-Case  14.  2 1 1 5  is  ernpt)-;  the  rest  carr\- 
one  or  more  human    figures. 


2110  21  ID  2 120 

In  2  1 10  the  family  party  reclines  on  a  pillow,  gaily  painted  blue. 
It  consists  of  a  bearded  man,  a  woman  with  long  black  tresses 
and  \ellow  frontlet,  and  a  bo\-  who  pla\s  a  double  flute  with 
mouth-strap,  like  the  stone  llute-pla\ers  1024-6  in  Wall-Case 
^o.  The  man  throws  his  arm  round  the  bo\'s  waist. 
In  2111-14  th<-'  single  ligures  seem  to  be  men;  but  2113  has  a 
woman's  frontlet  and  long  tresses.  The  occupant  of  21  14 
holds  a  Hat  rectangular  object,  which  is  painted  blue,  and  there 
is  blue  paint  on  the  sides  of  the  cart.  Hs.  5  in.  —  2\  in. 
Doell,  xi\-,  I  s,  940  (21  10) ;  14,  ()5C)  (2  11  2);  16,041  (21  13);  13, 
038(2114).  C J)lonna-Cx'ccaldi,  Monuments  de  C\  pre,  p.  133, 
fig.  4  (21  10);  p.  I  ^4.  fig.  6  (21  I  3);   p.  I  34.  fig.  5    (21  14). 

II,    108    (2110'),    113   (2112),   112  (2113),   110  (2114). 

21 1().     SciiNi.  A  r  ( JJiKr.     .A.  group  of  six  figures,  all  wearing  high 
caps  and  gaily  painted.      The  central    figure   is    seated,    and 

346 


EARLY    IRON    AGE 

leans  like  a    Homeric    king  on   his  staff  of  office    (skepiroii).   lerra- 
At  his  right  a  bearded  attendant  holds  a  kid,  for  a  meal  or  ("^^'^ 
sacrifice,    and    in    front   of   him    are    two   wine-bowls    on   the  4 
ground.   Behind  the  king  stands  his  cup-bearer;  and    on    the 
left,  his  armour-bearer,  with  round  shield.      In  front  of    the 
armour-bearer  a  seated   figure   inflicts    corporal    punishment 
with  a  lath  or  sword  on  a  prostrate   man    with   outstretched 
arms.     For  naive  vigour  and  direct  narrative,  this  little  com- 
position is  not  easily  surpassed  in  this  style.    H.  3 J  in.    II,  76. 

2117.  A  Bearded  Man  holds  another  person  in  close  embrace. 
H.  2|  in.  II,  180. 

2118.  Ring-Dance  of  three  figures  in  pointed  caps  who  face 
inwards,  and  encircle  a  flute-pla\er.  These  ring-dances, 
performed  around  a  musician  or  a  sacred  tree,  were  a  regular 
part  of  the  worship  of  Cx'priote  deities.  The  best  representa- 
tions of  them  have  come  from  rustic  shrines  at  Soloi  and  Kh\-- 
troi.  Compare  the  later  ring-dances  2241-50  with  moulded 
figures  of  Hellenic  st\le.  H.  3  f',;  in.  II,  279. 

21  ig.  Ring-Dance  of  three  figures  in  high  caps  and  long  cloaks, 
standing  back  to  back  about  the  trunk  of  a  tree.  The  com- 
position resembles  the  well-known  Hellenic  t\pe  of  the  "Three 
Graces",  which  itself  ver\'  likelx'  originated  in  some  such 
representation  of  a  ring-dance.  The  worship  of  sacred  trees 
(replaced  when  they  decax'ed  b\'  a  pillar  of  wood  or  stone) 
was  widespread  in  the  ancient  east,  and  habitual  all  through 
the  Sxrian  coast.  "He  brake  also  the  pillars,  and  cut  down 
the  grox'es"  is  the  commonplace  of  religious  reform  in  Israel. 
H.  61"',;  in.  1 1,  223. 

2120.  Two  Women  Winnowing  and  (irinoinc.  Corn:  the  one 
holds  a  sieve  and  a  winnowing-fan  {vcniiiits)  of  the  shoxel- 
shaped  fashion  still  used  in  (^xpriis.  The  other  grinds  with 
the  primitixe  saddle-t]uern,  which  in  (^xjirus  conies  down 
from  the  Bronze  Age  into  earix"  historic  times.  I'liese  mill- 
stones are  o\al,  anil  the  upper  one  is  juished  back  and  forth 
akjng  the  lower,  between  a  pair  of  side-boards  which  prexeiit 
the  meal  from  scattering.  The  grains  of  corn  are  shown  bv 
dots  of  black  }iainl.  H.  2I  in.  II,  75. 

2121.  Woman  Kni-ai)IN(.  Doi  (,ii,  which  slie  holds  in  a  dish  on 
her  feet.  The  meaning  of  the  high  elliou-Mipj'orl  below 
this  figure  is  not  dvjr.      II.  7111.      Doell,  w,  i,  S77.      II,  222. 

'.47 


Till-:    COLl.l-Cl  ION    OF    THRRACOl'i  A     ITGlRliS 


I e I  ra- 
ce >l  I, I 
Case 
4 


J 122.  Woman  Bakinc,  (Iaki^.  I'hc  own  is  a  lar,<^c  duv  vessel 
built  up  In  IkiihI  out  of  tloors  in  a  Lonwnicnt  i">laee,  and 
jirod  where  it  stood.  Its  re.uular  I'uel  in  modern  ([xjirus, 
as  in  New  Testament  times,  is  the  "grass  of 
the  tield."  which  "to-da\-  is,  and  to-mor- 
row is  cast  into  the  o\en"  (.Matt.  \  i,  30), 
where  it  lea\es  but  little  ash.  When  the 
<nen  is  thoroughlx  hot.  the  dou.gh  cakes  are 
plastered  upon  its  inner  surface,  and  are 
afterwards  detached,  as  in  modern  (^\prus, 
with  the  wooden  scraper  which  the  woman  holds  in  her  hand. 
H.  3lin.  11,73. 

2123.  W'o.MAN  CJRiNDiNG  CoRN.  .\  Working  model  made  in 
several  pieces;  the  arms  and  saddle-quern  are  missing. 
H.  4li!  in.  II,  220. 

2124.  d  ABLii,  with  underframe  and  three  legs:  compare  the  chairs 
2007.  2oi(S  and  the  cla\-  tripods  S12-15.  H.2jin.    11,  iii. 

2125-26.  Rectanollar  Cjihsis  on  F-^)LR  I-'hht,  with  string-holes 
to  secure  the  C(j\er.  Like  the  stone  chests  1062-06  the\'  are 
imitated  from  wooden  chests,  such  as  still  are  the  chief  furniture 
of  peasant  homes  in  C\prus  and  other  Cjreek  lands.  Hs.  2 § 

in.,  5  in. 

2127-29.  Shii's,  such  as  ha\e  been  found  in  tombs  of  the  sixth 
centurx'  at  .Amathus.  The  largest,  2127,  shows  man\'  details 
of  construction;  note  particularl\-  the  longitudinal  strakes 
along  the  water-line  to  receive  the  "under-girding"  in  storm\' 
weather  (.Acts  xwii,  17);  the  prominent  catheads  at  the  bows, 
to  receix  e  the  anch(.)r;  the<)pen  railing  and  stern  galler\'  (2127-S); 
and  the  helmsman  with  his  two  steering  oars,  for  which  212S 
pro\ides  large  portholes:  2129  is  a  mere  row-boat  with  high 
bows  and  sternpost. 

(da\'  ships  such  as  these  prohabh'  suggested  the  localization 
of  the  ancient  storx.  how  Kin\ras.  King  of  ,\malhus,  promised 
a  hundretl  ships  to  his  all)'  Agamemnon,  as  his  contingent  for 
the  I'rojan  War  —  but  sent  in  their  stead  a  squadron  of  boats 
like  these,  with  "cla\'  crews."  Plin\',  \'af.  Hiit.  \ii,  '-,-,  4. 
Eustathius  on    Homer,    Iliad   xi,   20.  Ls,    loj    in.,  loi    in., 

2\m.        C\prus,   p.  2S0   (2127-8).         Perrot,  fig.  352    (2127). 

II,  702  (2127),  701  (212S). 

21301.     SuRiNiiS,   consisting  of  a   rectangular  niche,   with  a   tlat 

348 


EARLY    IRON    AGE 

fafade  in    Egx'ptian   st\'le.     Within   is   a  figure  of  the  deity,    'err;! 
with  features  ver\'  roughly  indicated  b\-  pellets  of  elav.    Over  ^°"f 
the  lintel  of  2130  is    the  cresccnt-and-disc    of    the    (]\priote  4 
Mother-Goddess,    as    on    the    stone    slabs    1410,    1416,    1420. 
Similar  shrines  have  been  found  at  Amathus  in  tombs  of  the 
se\enth     and    sixth    centuries.     Thev    show    strong    foreign 
influence,    but    the   modelling   is  still  in   the  old  "snow-man" 
technique.     Hs.  3^  in.,  31;;  in.  II,  101  (2130),  103    (2131). 

2132.  Sacred  Snakh  (uraeus),  advancing  in  Eg\-ptian  fashion 
towards  a  table  of  offerings.  The  fabric,  with  white  slip  and 
red  and  black  paint  on  red  cla\',  is  peculiar,  but  certainlv 
Cypriote:  compare  2066,  2093.  For  other  illustrations  of 
snake-worship  see  the  stone  figure  1022,  the  cla\-  figure  2047, 
and  the  engraved  gems  4145,  4150,  4152,  4164,  4167,  etc. 
H.  5i'o  in. 

HUMAN    MASKS    AND    HEADS 

Small  masks  of  clay,  or  of  more  perishable  materials  such  as  wood 
(jr  wax,  were  commonly  dedicated  in  antiquitx'  at  sacred  trees 
and  other  rural  sanctuaries.  The}'  probablx'  represented  the 
\otaries  who  dedicated  them,  and  serwd  to  place  them  under  the 
protection  of  the  local  deitw  The)'  were  usuall\'  hung  b\'  a  string 
so  as  to  swa\'  with  the  wind,  and  face  in  e\ery  direction.  Probably 
this  mowment  to-and-fro  (which  takes  its  name  "oscillation" 
from  these  oscilla  or  "lit tie  faces")  had  the  same  magical  effect  in 
attracting  the  deilx's  attention  as  the  Tibetan  i-)ra\er-tlags  and 
pra\er-mills.  (da\'  masks  of  this  kind  are  also  sometimes  found 
in  tombs  of  the  seventh  and  sixlh  centuries:  in  the  "other  world," 
also,  there  were  powers  to  be  propitiated,  and  to  gi\e  protection. 

2\  ]]-().  Bi:ARUhi)  .Masks  in  "snow-man"  technitjue,  perforated 
for  suspension,  like  the  bulls'  he;ids  2071-^;  2i)()  shows  some 
Oriental  influence  and  uses  inused  lines  !o  render  the  hair, 
but  is  still  wholK'  modelleti  b\    hand.  lis.  ^\  in. —  ?i]  in. 

II.  2  i(),  214,  212,  215. 

2137.  I'E.MAi.i-;  Mask,  modelled  ly\-  hand  in  1  he  Archaic  (l\iiriote 
st\le,  like  the  large  hi'ads  i4S')-'>o,  but  in  tlark  red  cla\,  witli 
delail^  in  dull  black  p:iinl,  like  ihc  I'ainlcd  RvA  Ware  Soi  If. 
The  hair  is  rendered  b\  cngraxcd  stamps,  :is  on  the  large  clay 
held    140s.      (Compare  tlu'  fun-  \()ti\e  mask    i.|()o.  II.    ^1,: 

in.  II.  21  1. 

34<) 


THE  c;oli.e(:tion  oi-  thrracoita   figures 

1  err:i-  i ]  ^S-Q.     1-^EMALH   Hhad,  and  HiiLMi.THO  HhAD,  witli  raiscd  ear- 
Case  tlaps,  in  the  same  fabric  as  21  37;  they  seem  to  have  been  broken 
4          from   human-headed   feeding-bottles   like  930-931.     Compare 
the  large  modelled  heads  1454  ff.         Hs.  3I  in.,  4  in. 

PERIOD  OF  ORIF^NTAL  INFLUENCES 
ABOUT  750  TO  550  B.C. 

MOILDHD    I-IOLRHS    1\    ORIENTAL    STYLE 

rerri-  '"  '^'^'^'  Period  of  Oriental  Influences,  a  quite  new  direction  is  given 
cotta  to  Cypriote  terracotta  work  by  the  introduction  of  the  mould, 
Case  probabl\'  from  the  S\  rian  coast,  where  it  had  long  been  in  use  for 
flat-backed  figures  of  the  .Mother  Goddess,  and  for  a  few  other  con- 
ventional t\pes  both  funerary  and  \'otive.  These  Syrian  figures 
go  back  at  least  to  the  Eg\'ptian  protectorate  of  i  500-1350  B.  C; 
and  both  in  Egvpt  and  in  Mesopotamia  the  mould  was  in  use  for  clay 
figures  earlier  still.  fhis  invention,  as  we  have  seen,  facilitates 
mechanical  output,  at  the  cost  of  craftsmanship  and  original  variety. 
In  C\prus,  the  figure-makers  tried  to  redeem  its  defects  by  supple- 
mentar\'  hand-modelling;  and  often  reverted  to  modelling  for 
ever\'thing  except  the  face,  which  was  moulded  on  a  separate  piece, 
and  built  into  the  figure  with  a  junction  of  soft  cla\'.  But  before  long 
the  machine,  as  usual,  overpowered  the  craftsman;  the  moulded 
figure  rapidl\'  superseded  the  handmade,  except  in  a  few  village 
sanctuaries  and  for  the  smallest  figures  in  the  tombs;  and  the 
t\'pes  became  few,  conventional,  and  debased.  Only  under  ex- 
ceptional circumstances  does  hand-modelling  persist,  as  at  Tamas- 
sos,  and  at  the  Toumba  site,  near  Salamis,  for  large  statues;  and 
at  .Marion  for  recumbent  effigies  in  tombs. 

The  majorit\'  of  the  moulded  figures  in  this  Collection  arc  of  cla\'s 
which  closelx'  resemble  those  used  at  the  numerous  small  sanctua- 
ries round  Kition,  and  are  well  represented  in  European  .Museums, 
especialh'  in  the  Louvre.  The  moulds  are  very  shallow  and  repre- 
sent the  figure  in  relief  against  a  background  formed  by  the  overflow 
of  cla\-  round  the  edges  of  the  mould.  In  the  better  figures  this 
superfluous  cla\-  is  trimmed  away  to  the  outline  of  the  figure. 

2140-49.  Nude  Female  Figures,  probably  representing  the  same 
.Mother  (joddess  as  the  gross  figures  of  Bronze  Ago  fabrics 
(2009-13).  The\-  stand  erect,  with  the  hands  either  hanging 
by  the  sides  (2140-42),  or  raised  (2143),  or  supporting  both 
breasts   (2144-6),  or  clasped  in  front   (2149),  or  one   hand   is 

350 


PERIOD    OF    ORIENTAL    INFLUENCES 

held  across  the  body  (2147-8).     The>-  wear  rich  collars  with  Terra- 
pendants      (2140-1-3-4)     and     heavy    Oriental    head-dresses  '^o^^^ 
(2143-4).     Some   have   details  in    black   paint   (2144-5),  and 
2146  is  perhaps  a  handmade  copy;  it  is,  at  all  events,  freely 
retouched  by  hand.        Hs.  i3i\  in. — 4I  in.      Doell,  xiv,  11, 
844  (2146);  6,  865  (2148).     Cyprus,   PI.  vi  (2144-6,   2149). 

II,  187,  231,  230,  229,   193,  18,  19,  ic)9,  21,  194. 

2150-58.  Female  Figures,  very  like  the  preceding  group,  but 
clothed  either  in  a  diaphanous  tunic,  which  falls  in  Egyptian 
fashion  to  the   ankles  (2152-6-8),  or  in  full  Cypriote  costume 


2140 


2154 


21 60 


2168 


with  long  tunic,  short  over-tunic  or  over-fold  (2153-4),  girdle 
(2154),  and  veil  (2155).  The  collar  worn  bv  2154  is  elab- 
orate and  characteristic;  among  its  rich  pendants  are  a  signet 
ring  like  4164-71  in  the  Collection  of  l^'nger  Rings,  and 
large  openwork  amulets,  of  a  form  which  is  commonest 
among  the  votaries  of  Aphrodite  at  Idalion.  The  smooth  finish 
of  2150-1  is  characteristic  of  a  fabric  of  Kilion.  To  2150  arms 
raised  in  adoration  have  been  added  later  by  hand.  Note  the 
use  of  red  paint,  as  well  as  black,  on  2152-6-7.  These 
clothed  figures  probablv  represent  human  votaries;  thev  are 
usually  found  in  sanctuaries,  but  occasionallv  also  in  tombs. 
Hs.  9i'',i  in.--4i',;  in.  Docll,  xiv,  s,  S()()  (2151).  (]>-prus, 
PI.  vi  (2150). 

11,     22('2l5o),26    (2151),    2]2    (2152),    227    (2153),     197 
(2154),    195   ^2155),    l(J2    (2lj(>),    107    (2157),     I()I    (2158). 


TIIH    COLLHCTION    OF    TliRRACOTTA    FIGURHS 

orra-  2 1 ,().      Mali-,    \'()rAK^.      1  hi^    liguri,',    though    obviousiN'    from    a 
V*"'^  k'liialc   nioukl,   like   2  i  so-S,   has   boon   adaiited   to  ser\e   for  a 

^  male   N'otarx'.   hv   the  addition   ol    a   beard.     Such   improvised 

olferings  are  not  uncommon  at  (l\priote  sanctuaries:  at  the 
Kamehtrga  site,  lor  example,  all  the  warrior-figures  ha\e 
heads  from  the  same  moulds  as  the  female  iigures,  and  beards 
modelled  upon  them  b\-  hand,  sometimes  so  carelessl\'  that 
part  of  the  beard  has  broken  a\va\',  exposing  all  or  part  of  the 
moulded  chin  (C"..M.(^.  535=)).  The  historx'  of  this  figure 
cannot  be  traced;  but  it  ma\-  well  be  an  instance  {like  (l.M.Cl 
SSSO  of  a  male  figure  dedicated  irregularlx'  at  a  women's 
sanctuarw  In  the  same  wa\'  feminine  offerings  are  dedicated 
occasionall)'  at  the  shrines  of  male  deities;  or  flute-jilax'ers  at 
temples  where  harp-music  was  the  rule.  H.  6  in.  Perrot, 

tig.  383.  11,228. 

2i6o-().  [-"h.m.mj-:  \'otari1:S  of  the  same  general  st\le  and  t\pe 
as  the  preceding  groups,  but  holding  \arious  objects:  bird 
(2161),  flower  (2164),  lyre  (2i()5-6),  or  tambourine  (2i()7); 
the  hre  and  plectrum  of  2\()^  are  added  to  the  moulded 
figure  in  small  strips  of  cla\'  modelled  hv  hand.  The  larger 
figures  2168-9  are  modelled  hollow,  like  the  larger  handmade 
figures  1432  ff.  in  Moor-Case  X.  This  was  done  to  prexent 
distortion  in  the  kiln,  and  marks  the  complete  dexelopment 
of    Oriental     moulded    technique.  lis.    lo,     in.  —  4i-V,     in. 

II,     204    (2l()o),   (14    (2161),   206   (2l()2), 

287,  (2i()6),  202   (2167),  20^   (2168). 

2170-74.  .Malh  \'otarihs  of  the  same  st\le,  standing  erect,  with 
one  hand  slung  across  the  body  in  a  told  of  the  ()\er-garment, 
as  in  the  stone  statues  1002,  1004,  in  \\'all-(]ase  2(),  and  M3^-^ 
in  (^enlre-(^ase  A.  The  bearded  man  2170  wears  pointed 
cap  with  long  lapels  and  richl\-  fringed  cloak.  I'he  bearded 
head  2171  is  in  similar  st\ie.  On  the  other  hand,  2172-5 
ha\'e  the  heaxv  l''.g\ptian  wig,  large  earrings,  short  tunic  with 
ox'erfold,  and  short  cloak  (2172).  In  2175,  though  the  hodv 
is  moulded,  the  head  has  been  much  retouched  hv  hand;  and  the 
warrior-\dtar\'  2174  has  a  wheelmade  b<>d\'.  and  onl\'  his  head 
is  moulded.  His  helmet,  which  is  hand-modelled,  is  of  earl\- 
Hellenic  t\pe.  and  the  painting  on  his  bod}'  seems  intended 
to  represent  the  shoulder-plates  of  a  Hellenic  breast-plate. 
lis.   lol  in.      2I  in.  l.\,  70. 

352 


PERIOD    OF    ORIENTAL    INFLUENCES 
2175.     Head  of  a  .Male  \'otarv,  on  a  rather  larger  scale,  probably  j 
made  in  a  mould  but  almost  \vholl\-  retouched.     This    marks  cotiJ 
the    transition     from    the    hollow    mould-pressed    lioures    of  '^^'^'^ 
moderate  size,   to  the  \er\-  large  and   mainl\-   hand-modelled  ' 
statues  of  the  sexenth  centur\',  1432  IT.      H.  3^  in. 

2i76-(So.  Seated  Fi-;.male  PTgures,  of  the  same  general  st\ie  as 
2160-9,  with  hand  to  breast  (2176-7),  or  tambourine  ('217S-S0), 
or  bird  (2179),  much  broken.  These  seated  figures  haw  been 
extemporized,  b\'  first  moulding  a  standing  figure,  and  then 
bending  it  to  the  proper  angle,  and  adding  a  cla\-  support, 
2177-9,  or  a  chair.  2i<So.  at  the  back.  The  heads  of  2  176-79 
are  moulded,  but  2i(So  has  been  retouched  in  the  "snow-man" 
technique:  probabl}'  it  was  damaged  in  the  bending,  and  had 
to  be  repaired.  H.  5,',iin.    — 3:]  in. 

II,  81   (2176),  78   (2177),  77  (2179),   53    (2180). 

PERIOD  (Jl-    HELLENIC  INFLLEXCE 
.ABOUT  550-300   B.  C. 

MOULDED    1-IGURES    IN    THE;    HEEEENIC  STYLES 

The  spread  of  Hellenic  influences  afTected  the  stxie  of  the  terra- 
cottas as  profoundl}-  as  that  of  the  sculpture.  But  it  did  not  alter  the  ^-„\(.,' 
technique.  Greece  had  alread\'  borrowed  thenKJuld  from  the  same  (^asc 
Oriental  source,  and  had  adapted  it  to  the  purposes  of  a  far  higher 
craftsmanship  than  that  of  (^\prus.  The  moulded  terracottas  of 
the  Last  and  of  (Cyprus  are  seldom  fashioned  in  the  munLi;  almost 
all  are  flat-backed,  and  the  majorit\-  would  be  more  trul\'  described 
as  executed  in  rather  high  relief.  1  heri-  were  strong  local  reasons 
wh\'  the  (^\priote  figure-makers  were  slow  to  e\ade  this  restriction. 
The  art  of  cla\-  modelling  alwavs  tends  to  t'ollow  the  lead  of  con- 
temporar\'  sculpture.  The  flat  pro[iorlions  habituall\'  obser\ed 
in  (^\i'»riote  sculpture,  which  hax'e  alread\'  been  shown  (p.i-jo) 
to  result  from  the  tabular  structure  of  the  natixe  limestones, 
olft'red  no  challenge  to  more  ambitious  work  in  cla\-;  and  the 
clavs  of  Cyprus,  also,  are  naluralL  calcareous  and  grUtw  and 
need  caretu!  preparation  and  more  than  ordinar\  skill  il  llie\  are 
to  satisf\'  the  re(|uirements  of  \er\'  hiiih  rrlicL  In  (ireece,  on 
the  other  hand,  v\here  the  1  hick-bedde.l  liniesiones  and  frequent 
marbles  made  it  i-asier  to  rxccule  sculplure  of  full  proporl  ionale 
thickness,  the  clax's  are  for  the  most  pari  betler,  and  in  sonu-  lo- 
calities except  ion  a  11  \'  good  ;  ami  art  I'sls  in  Ja\  followed  easil\  1  he  lead 


THE  COLLECTION  OF  TERRACOTTA  FIGURES 

Terra-  of  the  stone-carvers.  Before  the  end  of  the  sixth  century,  seated 
cV'^'  figures,  and  even  some  standing  t\'pes,  were  being  struck  from  Greek 
6  moulds,  in  their  true  natural  proportions;  and  by  the  fourth  century 
the  use  of  a  mould  in  two  or  more  sections,  fitting  tightly  together, 
permitted  the  production  of  statuettes  which  had  practically  no 
"back"  at  all,  but  were  fit  to  be  seen  from  almost  every  point  of 
\iew.  This  mechanical  improvement  of  the  moulds,  moreover, 
made  it  safe  to  attempt  under-cutting,  and  so  permitted  far  greater 
depth  of  relief,  and  complete  freedom  of  pose.  With  the  use  of 
hollow  moulds,  too,  came  the  employment  of  far  finer  and  more 
fluid  cla\'s.  The  result  was  a  fabric  at  the  same  time  thinner, 
lighter,  stronger,  and  of  more  delicate  surface  texture,  worthy 
now  of  all  enhancement  by  paint  and  gilding. 
Some  of  the  figurines  of  the  Hellenic  period  which  are  found  in 
Cyprus,  may  well  be  foreign  imports  from  the  workshops  of  Eph- 
esus,  M\rina,  and  other  Greek  cities  of  Asia  iMinor;  but  there 
seems  no  doubt,  from  the  quality  of  the  clays,  as  well  as  from  a 
provincial  note  in  the  style  even  of  fine  examples,  that  good  work 
was  being  done  in  Cyprus  itself,  by  men  of  Greek  training,  from 
the  end  of  the  sixth  century  until  the  Hellenistic  Age.  This  in  its 
turn  throws  some  light  on  the  peculiar  historx'  of  C\priote  sculpture. 
The  conditions  of  access  and  of  demand  were  presumabh'  the  same, 
but  those  of  production  different.  Under  the  new  technical 
conditions,  with  hollow  moulds  and  fluid-filling,  the  Cypriote 
clays  were  now  far  less  unworthy  of  a  good  craftsman  than  the 
soft  flaw-flaked  limestone.  We  find,  therefore,  a  refined  local 
school  of  Hellenic  clay-modelling,  but  in  sculpture  little  but  clumsy 
and  tasteless  imitation. 

Of  Hellenic  origin,  also,  are  new  and  less  orgiastic  t\pes  of  votary. 
These  lay  aside  their  tambourines,  infants,  and  offerings  of  animals 
or  bakemcats,  and  usually  even  the  lyre,  and  stand  simply  posed 
with  something  of  the  quiet  dignity  of  the  votive  figures  on  the 
Athenian  Akropolis.  Fresh  renderings  of  the  Mother  Goddess 
are  more  akin  to  the  beneficent  Greek  Demeter  than  to  Svrian 
Astarte,  or  e\en  Phr\gian  C\bele.  And  from  the  fourth  centur}- 
onward  we  ha\e  (at  all  e\ents  from  the  tombs  round  Kition  and 
Kurion,  and  perhaps  also  from  suburban  sanctuaries)  man\'  purel\' 
secular  studies  of  girls  and  young  matrons.  These  culminate  in 
a  local  school  which  at  its  best  has  a  general  affinity  with  those  of 
Tanagra  and  .\l}rina,  though  it  easil\-  degenerates  into  shallow  and 
tasteless  posing. 

354 


PERIOD    OF    HELLENIC    INFLUENCE 

2181-90.     Female   Votaries,   full\'   draped   in    Doric  chiton   and    '  erra 
himation;  erect   (2i(Si-2,  2i<S6-8),  seated   (2183-4),  or   recum- ^^^^^^ 
bent  (2185);  some  let  their  hands  hang  loosel\-  b\'  their  sides;  6 
others  hold  a  libation  bowl   (2186),  or  a  flower  (2187-8),  or 
simply  draw  forward  the  edge  of  the  veil  which  falls  from  their 
head   (2189).     2190  wears  over  one  shoulder  a  belt  of  pen- 
dants like  that    worn  by  the  templc-bo\'  2292:  compare  also 


2181  2186  2187 

the  collar  with  amulets  and  signet  ring  worn  by  2154.  A  few 
details  have  been  added  b\'  hand  to  2187,  and  the  surface 
of  2188  has  been  carefully  revised.  The  free  \igorous  modell- 
ing of  2189  appears  also  to  result  from  retouching  a  moulded 
figure.         Hs.  8  ,■'',;  in. —  2  ,',;  in. 

II,  271  (2181),  267  (2183),  339  (2186),  266  (2187). 


2191  2 1  gS  22.\\ 

2191-2.      IT-.MAi.i-    \'oiARii,'>,    parlh'    or    wlioll\-    nude.      Ilcre    the 
mature  (ireek  appreciation   of  the  human   form   permits   the 

335 


THE    COLLHC.TION    OF     lERRACOTrA    FIGURES 

erra-  revival  oftlie  nude  t>pe  of  goddess  or  votar\-,  without  repeating 

"^/-'.^  '  either  the  grossness  of  primitive  modelling  or  the  stiff  sym- 

()  holism  of  the  Oriental  moulds.         Hs.  2\l  in.,  3  i\i  in. 

2193-97.  Hhads  of  similar  figures,  of  the  same  good  period. 
All  are  female  except  2197,  which  represents  a  }outh  and  be- 
longs to  the  fourth  century.         Hs.  3  in. —  if  in. 

11,  514  (2195). 
Large  terracotta  figures  of  Hellenic  style  are  uncommon  everywhere, 
when  once  full  master}-  of  stonework  has  been  achieved.  There  are, 
however,  a  few  fine  examples  in  which  the  tradition  which  is  repre- 
sented b\'  the  large  heads  in  Oriental  style  passes  on  into  an  Archaic 
C\priote  and  even  a  Hellenic  phase.  See  especially  1458-67 
in  Floor-Case  X. 

PERIOD  OF    HELLENISTIC  AND   GRAECO-ROMAN  ART 
AFTER  300  B.  C. 

From  Hellenic  to  Hellenistic  and  Graeco-Roman  work  the  transi- 
tion is  gradual,  but  the  decadence  persistent.  The  old  native 
types  disappear  almost  wholly,  and  the  old  methods  completely. 
Their  place  is  taken,  as  evcr\where  else  in  the  Graeco-Roman 
East,  by  poor  copies  of  favourite  subjects  like  Eros,  cither  attended 
by  Psyche,  or  engaged  in  childish  sports;  Phrvgian  votaries  and 
temple-boys  like  those  of  the  sculpture  series;  figures  of  Silenos 
or  Pan;  and  the  long  series  of  grotesque  and  stage-characters. 
Cyprus,  in  short,  has  now  been  received  fully  into  the  "ci\ilized 
world";  it  has  no  longer  the  power,  or  the  will,  to  have  art  or  cul- 
ture of  its  own. 

GODDtSSES    AND    VOTARIES    IN    HELLENISTIC    STYLES 

These  are  all  pressed  in  a  shallow  mould,  and  are  hollow;  but  are 
unworked  behind.  The  clay  is  fine  and  dusty,  and  the  best-pre- 
served examples  have  a  rudd\'  burnished  surface.  The  st\le  is 
more  and  more  that  of  a  commonplace  Hellenism,  with  loose 
inexpressive  forms,  ill-concealed  by  over-elaborate  drapery. 

2198.  Goddess  enthroned,  full\'  robed  and  wearing  on  her  head  a 
high  cvlindrical  polos.  She  raises  her  left  hand  in  front  of 
her,  a  faint  sur\i\al  of  the  old  gesture  of  maternity.  This 
seems  to  be  still  the  Great  Goddess  of  Cyprus,  but  she  has 
now  l(jst  all  cruder  signs  of  barbaric  or  Oriental  origin,  and  has 
become  assimilated,  on  one  hand,  to  Cybele,  the  Great  Mother 

356 


PERIOD    OF    HELLENISTIC    ART 

of  Asia  Minor;  on  another,  to  Demcter,  the  beneficent  goddess  Terra- 
ofcorn  and  fertih't\',  who  presides  over  the  Eleusinian  .M\steries.  '^^"'^ 
On  either  side  of  the  throne  stands  a  female  votary,  full\-  robed,  g' 
carrying  a   rectangular  box,   probably  to  hold  some  mystic 
objects,  such  as  were  used  in  the  worship  of  Demeter.     Other 
terracotta  figures  of  similar  style  show  two  goddesses  seated 
side  by  side,  exactl\'  as  Demeter  and  her  daughter  Persephone 
sit,  in  similar  compositions  from  (jreece.         H.  lOg  in.     Doell, 
XV,  27,  989.     Cyprus,  p.  50.  11,376. 

2199-2210.  Goddesses  of  the  same  type,  seated,  but  unattended 
(2199-2202);  and  heads  of  similar  figures  with  high  polos 
(2203-2209);  the  head  2210  also  represents  a  Goddess,  wearing 
a  stephane  like  Aphrodite,  instead  of  a  polos.  Hs.  -jl  in. — 
2  in.         Doell,  xv,  29,  991.     C\prus,  p.  51    (2199). 

II,  379  (2199),  386  (2200),  380  (2201),  382  (2202), 

413    (2203),  416   (2205),  420   (2207),    123    (2208). 

221 1-22 1  5.     Female  Votaries,  like  those  who  attend  the  Goddess 

2198;  they  carry  similar  boxes,  except  2215,  who  bears  on  her 

head  a  vessel  for  holy  water,  and  is  of  rather  different  fabric. 

Hs.  lOj  in. —  5  1^,;  in. 

II,  315  (221 1),  377  (2212),  378  (2213),  312  (2214). 

studies  of  daily  life,  in  the  manner  of  myrina 
and  tanagra 
These  figures  are  in  fine  dust\-  cla\-,  probablx'  pressed  or  cast  origi- 
nally in  a  multiple  mould,  but  thoroughl\-  retouched  b\'  hand.  'I'hey 
are  probably  of  native  work,  but  are  wholly  inspired  by  the  better 
class  of  early  Hellenistic  genre-modelling. 

2216-2229.      F-"hmaij-;    1m<uki-.s,    in    the  full    flowing  dress  —    Ionic  ,. 
chiton  and  himation  — which  is  unixersal  in  the  fourth   and  ^;()tti 
third  centuries  in  Greece.      1  he  t\|ies  represented  here  happen  (;asi-s 
to  include  some  which  repeat  actions  or  jioses  which  we  have    '7 
seen  to  have  had  a  religious  or  magical  significance  at  an  earlier 
stage:  2216,  for  examjile,  ]">la\s  a  lanibourine;  ;ind  2217  carries 
an  infant.      But  this  is  ihtIkijis  accidental,  or  at  most  a  mean- 
ingless survival;  the  majorit\'  are  mere  genre-figures,  staiuling 
or  seated    (2220 -222  ij;   often  clost'lv  wra|iped  in  a  large  cloak 
(2222-23).       I  he  figures  222^-22H)  are  ol  poorer  and  later  work- 
manship, lis.   8||    in.    -  2  ,■'„    in.      (Compare   ( :\prus,   p.    si. 

II,    >,2()   (2217),    :(44    (221S),    527  (221()),  ^iS  (222i>). 
357     f2225),    520    (2225),     ^I()    (222()),    28^     (222()). 

357 


THH  COLLECTION  OF  TERRACOTTA  FIGURES 


:^o-2240.  Heads  of  figures  like  221O-J3:  note  especiall\'  the 
veiled  head  2230  and  the  fine  modelling  of  hair  and  features  in 
2235.         Hs.  3i  in.—  li  in.  11,453(2230). 


HHLLENISTIC    \ERSIONS    OF    SNOW-MAN    COMPOSITIONS 

These  figures  probabI\'  come  from  small  rural  sanctuaries  where 
old  t\pes  of  offerings  remained  long  in  \ogue,  and  the  new  fashions 
of  moulding  came  in  late  and  graduall\'. 

]^j.j.,^_  2241-16.     Figures  fro.m  Ring-Dances,  pressed  solid  in  ver\'  shal- 

cotta  low  moulds  of  late   Hellenistic   st\ie,   and   then   attached  to 

Cases  ,j  hand-modelled  rine  of  claw     All  these  are  female  figures, 

0,  7  '  ' 


9^'- 


22411  -2^37 

witli  the  doubtful  exception  of  2230;  and  the>'  are  so  nearl\ 
alike  in  technique  that  the\-  probablx'  belong  to  one  and  tlie 
same  shrine.     The  artist  was  not   alwa}s  careful   to  empk<\ 

35« 


PERIOD    OF    HELLENISTIC    ART 

a  suitahle  mould  for  his  figures;  for  example,  the  female  Terra- 
\otar\'  2247  has  her  real  (mould-pressed)  hands  hanging  freely  '^om 
b\-  her  sides,  like  2i(Si  tf.,  and  keeps  touch  with  her  neighbours  „ 
in  the  dance  b\'  means  of  supplementary  arms,  modelled  very 
crudel\'  in  soft  cla\';  2248  has  been  turned  into  a  f]ute-pla\er 
h\'  disguising  her  original  arms  with  clumsy  additions  of  the 
same  kind;  and  2249  has  the  mouth-strap  of  the  flute  added 
separately  On  the  other  hand,  224t)-50  ha\e  on!\'  the  face 
moulded,  and  the  bodies  columnar  and  modelled  b\-  hand. 
Similar  figures  (2251-6)  stand  free;  their  bases,  howexer,  are 
irregular,  and  the>'  seem  to  ha\'e  been  broken  a\va\'  from 
ring-dances  like  the  preceding  group:  2253-6  are  pla\ing  a 
l\re,  like  the  earl\-  figures  2035,  2044,  2057-8,  but  the  l\re 
is  now  not  the  Oriental  three-cornered  cithara  (compare  the 
stone  figure  1265)  but  of  regular  Greek  pattern,  as  in  the  stone 
figure  1085.         Doell,  xv,  24,  971   (2251). 

II,  309  (2243),  269  (2244),  306  (2245),  27(j  (2246), 
280  (2247),  36  (2248),  735  (2249),  353  (2250),  272 
(2251),  184  (2252),  282  (2254),  37  (2255),  38  (2256). 

One  remarkable  fabric,  well  represented  here,  appears  to  be  un- 
known to  other  collectors  of  Cypriote  antiquities.  The  nearest 
parallels  are  from  a  small  sanctuarx'  in  Southern  Ital\',  and  are  so 
closel}'  alike  as  to  prompt  the  suggestion  that  this  series  ma\'  not 
be  from  Cx'prus  at  all;  since  ("jeneral  di  (a'snola  is  known  to  ha\'e 
acquired  a  considerable  collection  of  anlicjuil  ies  from  this  part 
of  Italy.  It  combines  the  freehand  modelling  of  the  "snow-man" 
technique  with  effeminate  faces,  shield-medallions,  and  other  de- 
tails, which  are  quite  incongruous,  anil  are  impressed  in  Hellenistic 
moulds. 

2257-6)1.  W'akkioks  of  "snow-man"  lechnit]ue  but  proxided  with 
moulded  faces  of  Hellenistic  sl\le.  l'he\'  are  usuall\-  bearded, 
and  wear  high  caps  or  helmets,  the  ik'i'p  brim  and  broad  chin- 
strap  of  which  are  modelled  freehand  in  soft  claw  I. ike  the 
earl\' warriors  (20()rS-2  102  )  the\' carr\' riiund  shields,  and  bran- 
dish an  imaginarx'  sjiear;  the  shield  <  it'  22^7  has  a  ( i<irg(m  de\ice 
imjiressed  from  a  shallow  niedallion-mould  uf  the  same  lati.- 
st\le  as  llu'  warrior's  head.  lis.  s  ,'  in.        1  in. 

I  I.    2()0,    _'()5,   2()2.    r-,2,    554. 

2262.  .Mam.  \oi\m,  re[iresi'iileel  nudv  in  dreek  fashion,  in  a 
late  and  di'based  "snow-nian"  lechiii(|ue,  wliii.h  betraxs  traces 

5S0 


, crra- 
cotta 
Case 


THE    COLLlicniON    OF    THRRACOTTA    FIGURES 

of  llcllenistii:  influence.     Compare  2o()3  which,  though  earlier, 
is  alread\-  contaminated  in  the  same  \va\'.  H.  7^  in. 

220^70.  .Malh  \'()1  AKibs  in  the  same  mixed  st\  le  as  the  warriors 
2257-61,  with  snow-man  bodies,  late  moulded  heads,  and 
childishl\-  modelled  accessories:  2265-6  carr\'  kids,  like  some 
of  the  early  votaries,  2041.  Among  the  detached  heads, 
22()7-7o,  the  broken  surfaces  of  2270  show  well  the  construction 
of  these  figures.         Hs.  3s  in. —  if  in. 

II,  189  (2265),  186  (2266). 


2271 


2299 


2271-8.  HoRstMHN,  of  the  same  st\'le  as  the  unmounted  warriors 
2257-61.  The  shield  2271  has  a  Gorgon  medallion  like  2257; 
and  the  horse  2272  has  the  bridle  added  in  relief.  The  much 
larger  horseman  2276,  and  the  two  detached  horse-heads 
2277-78,  ha\e  other  horse-trappings  rendered  also  in  relief. 
Hs.  141  i!  in. —  4  in. 

II,  261  (2271),  661  (2272),  657  (2273),  659 
(2274),  637  (2276),  672  (2277),  670  (2278). 

2279-80.  HoRSHS.  Unlike  the  "snow-man"  animals  of  the  pre- 
ceding group,  the  two  detached  horses  227C)-8o  are  modelled 
quite  freel\-  in  a  \igorous  Hellenistic  st\le,  with  considerable 
obserxance  of  nature.  The  pose,  and  the  indications  of  reins 
and  harness,  separatel\-  modelled,  show  that  the\-  ha\e  formed 
part  of  one  or  more  chariot  groups.         Hs.  5  in.,  5^  in., 

11,  6()6,  ()()7. 

2281.     Chariot  and  Horses,  mould-pressed,  and  represented  from 

3O0 


Pl:RIOD    ()[•     HHLLliNISl  K;    ARl 

in  front  in  absurdl\-  shallow  relief:  all,  in  fact,  that  is  recogniz-  Terra- 
able  is  the  fore-part  of  the  four  horses,   and   the   heads  and  ^^m 
shoulders  of  the  two  occupants  of  the  car.     Similarh'  abbre-  ^' 
x'iated  groups  are  recorded   from   the   Phoenician   coast;  but 
it  is  not  clear  whether  C\prus  or  the  mainland  is  guilt)'  of 
in\enting  them.     The  chariot  has  a  dense  white  slip.         Doell, 
.xiv,  24,  935;  C\prus,  p.  164.  II,  658. 

2282-2200.     Hhads  of-  Dhities  .\nd  \'ot..\ries  in  \arious  Hellen-   ''^''''^' 
.     .  .  .     cot  la 

istic  st}'Ies.     The  red  clay  of  22H2  seems  to  belong  to  a  fabric  c^ase 

of  large  funerarv  terracottas  characteristic  of  the  later  tombs  '^ 

at    Marion   in   the  northwest   of  the   island.     2284  follows  a 

late  Zeus-t\pe;  22S5   a   Hellenic   Herakles;  2286  is  beardless, 

but  has  the  horns  of  Zeus  Amnion,  and  should  be  compared 

with  the  earlier  stone  statuettes  of  that   deity   (1136-1140). 

The  peculiar  fabric  of  2290,  with  chalk}-  pink  slip,  whitened 

e\'eballs,  and  black  paint  on  e\es  and  hair,  relates  it  with  the 

well-worked   head    1462   and    with    the    chariot    2281.     With 

these  late    tvpes    compare   the  large   heads   1469-70    in    the 

funerary  fabric  above  mentioned,  and  in  other  st\ies,  exhibited 

in  F-Ioor-Case  X.         Hs.  31',;  in. —  1^   in. 

II,  539  (2283),  607  (2286),   531    (2287),   525   (2289). 

MISCELLANEOLS    MOULDED    FIGURINES    OI-    LATE    STALES 

These  are  all  of  poor  qualit}-,  and,  with  the  exception  of  the  Temple- 
bo\s,  Phr\gians,  and  Lions,  are  de\'oid  of  local  interest  or  associa- 
tions. rhe\'  are  only  of  \alue  to  show  how  completely  the  native 
traditions  of  cla\'-modeIling  died  out  after  the  age  of  .Alexander. 

2291-98.  ThMPLi:-Bo'>s  representeLJ  in  the  con\entional  dress  and 
poses.  With  the  crouching  temple-bo\s  2291-95,  compare 
the  stone  figures  1204-1222:  compare  also  the  larger  clay 
example  1463,  and  the  cla\'  heads  14(15-7.  Note  the  rich 
belt  of  pendants  worn  h\-  22(j2.  With  tin'  standing  temple- 
box  s  229()-7,  compare  the  stone  figures  ii()i,  110^;  ^ind  note 
their  con\entional  flat  cap.  Of  22<)8  (in'}'  the  he;ul  is  pre- 
served. Ms.  -j'l  in.    -  I  '1,  in. 

II,     ^4C)    f22()l),     345     f2202),     ]4(>    (22i)]),     ^48 
(22().\},     547     (22()'-,),     342     (22()()),     ]\.\      t22i}-). 

2299-230!.      pKin'oiAN    X'oTAUV,    perhaps    inteniied    tor   Attis,    the 
Phrxgian  counterpart   of  the  S\rian  Adonis  in  the  cult   o|  the 
(ireal   .Mother.      IK-  uears  the  same  soft  c;ip,  loose    tunic  and 
3(M 


THF.    COI.I.F.CTION    OF    TFRRACOTTA    FIGURES 


lorra-  trousers,  aiui  llowinp;  cloak  as  the  stone  statuettes  123  i   and 

".'";'  ^^=)0.      In   22i)i),  he  is  representetl  dancing  wildly;  in  2300-1 

S  he  rides  a  horse.  Hs.  7^  in. —  i  j  in.  1 1,  307,  665,  663. 

2H>---23iH.      Fros,    represented    in    \arious    postures:    holding    a 
swan  2302-1;  an  apple  2305-7;  pla>ing  with  a  dog  230S;  riding 
a   goat   2300;   wrapped   in   a   cloak  2310;   drinking  231 1;  or 
recumbent  2312.     The  heads  2313-14  show  a  peculiar  hair- 
plait  on  the  head  (cf.  23  hS  below):  and  the  head  2314  is  itself 
winged,  an  anticipation  of  the  "cherubs"  of  the  Renaissance. 
In  the  relief  2315-6,  Eros  is  shown  in  converse  with  Ps}'che, 
and  2317  probably  represents  Psyche  separately;  2318  repeats 
a  very  popular  blending  of  Eros  with  the  Graeco-Egyptian 
deity  Harpokratcs;  and  the   characteristic  hair-plait  of  231 1, 
2313  is  realh'  an  attribute  of  Harpokratcs.     Hs.  5^  in. —  2-^  in. 
11,  351  (2302),  363  (2303),  365   (2304),  333  (2305), 
361    (2306),   370  (2307),    350  (2308),     336(2309), 
369  (2310),  331    (2311),    366   (2312),   332    (2315). 

2319-44.  Groti-:sqle  I'iguri.s  .\nd  He.ads,  including  a  recumbent 
dwarf  (2319);  a  negro  (2320)  with  unusual  deep  pink  surface 
colour;  an  interesting  series  of  Silenos  types  2321-30  (archaic 
2323-4,  Socratic  2325-6,  Hellenistic  2327-30);  miscellaneous 
t\'pes  2331-8,  and  a  few  Tragic  and  Comic  Masks,  2339-44. 
Hs.  3  in.—  li  in.  11,  372  (2319),  360  (2323), 

358  (2324),  208(2^42),  210  (2343). 

2345.  Bharded  Mask  for  suspension.  Like  2071-5  and  2133-6, 
this  is  a  Hellenistic  oscillum,  showing  the  late  persistence 
of  this  earl\'  t\pe  of  votive  offering.         H.  4I  il  in.         11,  491. 

2346-8.  Reliefs,  probably  votive,  all  in  poor  late  (ireek  work- 
manship —  2346  representing  a  \outhful  male  head,  in  medal- 
lion border;2347  a  deity  seated  full-face;  2348  a  nude  warrior 
charging  to  the  right.         Hs.  6f  in. —  2  in. 

11,  371  (2347).  340  (2348). 

2349-50.     Lions  in  the  same  late  Cypriote  st>le,  under  Hellenistic 

influences,  as  the  stone  lions   1383-5.         Hs.  4^  in.,  41^,-;  in. 

11,  669  (2349). 


362 


HE  COLLHCnON  OF 
LAMPS 


THE   COLLECTION   OF   LAMPS 

NO  lamps  are  known  from  C\prus  earlier  than  the  Period  of 
Oriental  Influences,  with  the  doubtful  exception  of  one 
rude  saucer  with  slightly  pinched  lip  from  the  Bronze  Age 
site  at  Kalopsida,  now  at  Oxford;  and  this  may  after  all  be 
a  crucible.  Probably,  in  a  forest-country  like  Cxprus,  torches  were 
commoner  at  first  than  lamps;  and  probably  also,  as  in  Egypt,  and 
all  through  the  modern  Le\ant,  a  floating  wick,  set  in  any  saucer, 
supplied  the  minimum  of  night  light  which  custom  demanded. 


A.    C^'PRIOTE    SALCtR-LAMPS 

About  the  seventh  century,  howe\er,  the  device  of  pinching  to- 
gether part  of  the  rim  of  a  saucer,  so  as  to  make  a  wick-holder, 
was  introduced  from  the  mainland,  where  it  had  been  in  use,  in 
Palestine  at  least,  since  the  close  of  the  Bronze  Age. 

2501-18.  Sauchr-Lamps  with  Pinched  Ri.m,  of  \arious  dates 
from  the  sixth  to  the  fourth  centur\'  H.  (L  The  earliest  t\pes 
(2501-7)  show  a  rather  deep  bowl  and  no  rim.  ,\  rim  ap- 
pears first  in  the  fifth  century  (25()(S-()),  and  becomes  broad 
and  Hat  in  the  fourth  f2s  lo-iC)).  Occasionallx'  these  lamps 
have  the  rim  compressed  in  two  places  (2517),  so  as  to  hold 
two  wicks.  The  solitl  lamp  2siH\\ilh  a  trough-sjiout  inter- 
rupting thf  rim,  as  in  the  broii/e  lamp  4<)S2,  ma\'  be  later 
still,  but  cannot  be  dated  with  ccrtaintw 

II,    looCi   (2--,(>(>);     1005    (2si^);    loo''^   C2517);    ion 
(251S);    1007  !'2S2o);    1002  -U^S-^i--);  K104  (2S24) 

In  the  fifth  and  fourth  centuries,  ( ;n.'ek  lamps  of  black  gla/ed  wart 
and  different  construction  \wre  int  roducetl.  I  he  bowl  ol  these 
is  shallfjw,  hut  has  an  iiuurwd  rim  to  iire\eiit  the  oil  from  spilling 
and  the  burner  is  foniii'd  of  a  shurt  1  riiugh-sjiont  whicii  projects 
from  under  the  rini,  and   rists  le\el  with   its  upper  surlace,       I  he 

3^'3 


THE    COLLECTION    OF    LAMPS 

inscribed  lamp  (iSss  in  the  C^ollection  of  Inscribed  Objects),  which 
nia\'  be  even  earher  than  the  til'th  centur\',  has  a  bod\-  of  this 
t\pe.  When  a  handle  is  present,  it  is  usuall\'  a  nearl>'  horizontal 
loop  around  the  part  of  the  bod\'  opposite  to  the  nozzle. 
To  secure  such  lamps  from  oxerthrow  on  the  high  bronze  lamp- 
stands  of  the  period  (4061-77  in  the  Collection  of  Bronzes),  thc>- 
were  often  made  with  an  annular  bod\-,  so  as  to  fit  onto  a  spike  on 
the  top  of  the  lampstand;  and  this  improvement  was  borrowed, 
ver\'  rarel>',  b\-  native  lamp-makers. 

2y\q-2o.  Salchr-La.mi's  with  Centr.a,l  Coll.\r.  These  are  of 
the  ordinary  fourth-centur\'  make,  with  wide  rim,  but  rather 
more  solid  than  usual;  the  central  collar  is  high,  narrow,  and 
clearly  experimental. 

On  the  other  hand,  the  de\icc  of  the  pinched  lip  is  itself  borrowed 
and  applied  to  other  purposes,  as  in  the  following  group: 

2521-4.  Salcer-like  Ladles  with  Pinched  Rim.  Ihese  arc 
placed  with  the  saucer-lamps  for  comparison  and  are  probabh' 
of  the  same  period,  but  are  probabl\-  shovels  for  carr\ing  hot 
coals,  like  the  stone  tire-sho\els  i()8o-()o,  and  iHOi  in  the  Col- 
lection of  Inscriptions. 

Here  the  pinching  of  the   rim    ser\es   to   deepen    the   bowl    and 

strengthen  it  near  its  junction  with  the  handle. 

B.    HELLENISTIC    AND    GRAECO-RO.MAN    LA.MPS 

For  the  centuries  next  after  the  fourth,  we  have  again  no  clear 
evidence  as  to  lamps  in  C\prus.  But  later  still,  from  the  first 
centur\'  B.  C~..  ordinar\-  late  Greek  lamps  become  \er\'  common  in 
tombs.  The  fashions  are  now  set  b\-  the  great  Greek  cities  of  the 
Nearer  Hast,  such  as  .Alexandria  and  .Antioch.  but  the  chronolog\- 
is  ver_\'  obscure,  and  it  is  certain  that  man\'  t>'pes  were  long  in 
use  together.  .A  selection  from  these  lamps  is  published  m  .Atlas 
11,  cxxx\'iii-cxl;  compare  C\'prus,  p.  76. 

2523-88.       La.MPS   WITH    CONCA\  E    ToP  AND  SCROLLED  NoZZLE  Seem 

on  the  whole  to  be  the  earliest,  and  certainl\-  give  place  whollx' 
to  other  t\'pes  after  the  second  centur\'  .A.  D.  The\-  ha\e  a 
round  saucer-like  bod\-,  co\ered  b\-  a  conca\'e  upper  side,  with 
a  small  hole  in  the  middle,  through  which  to  pour  the  oil. 
This  upper  side  was  made  separatel\'  in  a  mould,  and  added 
to  the  saucer  when  half  dr\'.  The  burner  or  nozzle  projects 
in  front  for  the  whole  depth  of  the  bod_\',  and  is  roofed  above 

306 


HELLENISTIC    AND    GRAECO-ROMAN    LAMPS 

by  a  prolongation  of  the  body  cover.  The  development  of 
this  t\'pe  from  the  primitive  saucer-lamp  is  betra\ed,  however, 
by  the  scroll  ornament  on  either  side  of  the  neck,  which  still 
suggests  decoratively  how  a  closed  nozzle  was  first  formed  by 
folding  the  edges  of  the  saucer  together.  The  larger  examples 
have  handles  opposite  to  the  nozzle,  either  triangular  and 
ornamented  with  a  palmette  or  even  a  pictorial  design,  or 
crescent-shaped,  or  a  vertical  loop  like  that  of  man\-  bronze 
lamps,  degenerating  in  2773,  2775,  2781  into  a  small  excrescence 
which  is  often  unperforated.  But  many  of  these  lamps  have 
no  handle  at  all.  The  concave  top  is  often  decorated  with 
a  shell-ornament  or  rosette  or  wreath  or  other  simple  design, 
impressed  from  a  mould. 

The  examples  above  described  have  been  selected  to  illustrate  the 
growth  of  the  forms,  and  are  for  the  most  part  quite  simply  deco- 
rated with  a  rosette,  wreath,  and  other  simple  design.  Many 
lamps,  however,  have  more  ambitious  ornament,  and  the  repre- 
sentations on  them  illustrate  well  the  popular  renderings  of  m\tho- 
logical  incidents  and  well-known  art-t\pes.  .-Ml  are  impressed  from 
moulds,  of  every  degree  of  artistic  merit. 

2589-2629.     La.mps  with  .-Xmm.als  and  Birds  are  \ery  common, 

especially    such    as    were    attributes    of   some   deit\-,    like    the  ^^otii 
Eagle  of  Zeus,  2594,  2598-9,  the  Dolphin  of  Poseidon,  2600-2,  Case 
or  the  Cock  of  Asklepios,  2603.      Hunting  scenes  are  common   '' 
(2607,  2609,  2620);    and  occasional!}'  a  fable  is  suggested,  as 
by  the  bear  and  squirrel  (or  ape?)  on  2()i2. 

2630-54.  Lamps  with  Scenes  fro.m  the,  Pl.bi.ic  (jamhs,  such  as 
chariot  races  (263  1-4)  or  gladiators  and  their  weapons  (2635-54). 

2655-61.  Lamps  with  Dionysiac  Slbjects,  such  as  Sat\TS, 
.Maenads,  and  Silenos-masks. 

2662-95.  Lamps  uiih  1'igurp;s  or  Drri  ii-s  and  other  mythological 
figures  and  scenes  are  common,  and  occasionall\-  reproduce 
recognizable  works  of  art.  l^ros  is  especiallx'  common  (2()7^- 
85).      Note  the  representation  of  luirojia  antl  the  Bull  on  2(171. 

.Another  common  l\pe  shows  sonu-  al'(init\-  with  tiie  ojien-topped 
lamps  of  the  lourth  cenlur\-,  in  its  phiin  hod}'  and  noz/le,  ;ind  in 
its  compjrati\'e!\'  large  ojirning,  which  is  usuallv  surrounded  b}' 
a  wheelmade  moulding.  It  leads  on  to  man}'  later  txpes  whiJi 
combine  the  peculiarities  oi  the  i')re\'ious  classes. 

3(.7 


THE    COLLllCTION    Ol-     LAMPS 


I'orra-  26q()-2~o^.     Lamps  with  Dhi.i'  Body  and  Plain  Top  and  Nozzle. 

,y^^  ■'  Some  of  tlicse  ha\c  a  looi^  handle  set  nearh'  horizontallv  round 

Case  q  '  .         •     . 

the  back  ol"  the  bod\'  (2(k)()).  .Man\'  are  provided  with  a 
prominence  on  one  side  of  the  body  (2()()()-7,  2701-3),  per- 
forated to  liold  the  small  metal  pin  with  which  the  wick  was 
trimmed.  But  this  projection  is  often  unperforated  and 
merel\-  decoratixe  (2()()(S.  2702,  4,  5).  Transition  to  the  next 
group  is  shown  in  2702-5. 

27o()-i4.  Lamps  w  i  lh  Lono  Nozzlh  and  King  Handll.  Man\' 
of  the  later  examples  are  in  a  sooty  black  ware,  prepared  by 
mixing  oil  with  the  cla\'  before  firing. 

2715-3Q.  Lamps  with  Convhx  Fop  and  Long  Nozzli;.  These 
are  late  deri\atives  of  2706-14,  and  seem  to  begin  about  the 
third  centurx'  .A.  D.  The  ornament  generally  consists  of 
radial  ribbing:  the  pin-holder  is  often  present,  and  the  handle 
usualh'  absent. 

2740-04.  Lamps  with  Low  Bod'i'  and  Shori  Nozzlh  succeed  to 
the  lamps  with  volutes,  and  often  show  remains  of  the  scrolls 
on  the  nozzle.  They  begin  about  the  second  centurx'  A.  D., 
and  go  on  till  the  fourth.  Many  of  these  (2772-()5)  have 
representations  of  animals,  personages,  and  scenes  like  the 
earlier  t\pes,  but  in  a  poorer  style  and  less  durable  clay. 

2795-2(838.  Lamps  with  Oval  or  Phar-shapld  Top  show  another 
interpretation  of  the  structure  in  the  design;  the  more  or  less 
concave  top  of  the  body  being  connected  with  the  nozzle  b\ 
a  more  or  less  horseshoe-shaped  moulding.  In  28o6-2() 
features  ha\e  been  borrowed  from  2706  IT.  and  2839  If.  These 
are  all  late,  probably  not  before  the  third  century  A.D.,  and 
run  on  into  the  Byzantine  period.  Christian  sxmbols,  cross 
and  XP  monogram,  first  appear  on  this  type  of  lamp  (283o-<8). 

2839-44.  Lamps  without  Nozzll  complete  the  decadence  of  this 
series;  the  body  is  flat  and  slightl\-  convex,  and  the  burner 
is  a  mere  hole  in  the  upper  edge.  I'he  ornament  usually 
consists  of  a  poor  rosette  design,  within  a  border. 

Manv  lamps  bear  t  he  names  or  trade  marks  of  their  niakers,  stamped 
or  incised  before  Tiring,  usualh'  on  their  under  side,  but  occasionally 
on  the  upper. 

2845-2949.  Lamps  with  Inscriptions  and  Makers'  Marks,  for 
the  most  part  of  the  earlier  and  better  made  types  2525  if.     The 

368 


HELLHNISTIC    AND    GRAHCO-ROMAN     LAMPS 


names  arc  usuallx'  in  the  genili\e  ease.  .Most  of  those  in  this 
collection  are  Greek:  'Kp;j.'.av'j[j]  2880-3;  'K-j^iz'-yj  2877; 
(-)soc(op[o|j  28()3-6;  IIXaTcovoc  2878;  l];pjp(c(.)vo;  2871-4; 
X3:p!c(i)vo;  2875-6;  Z(o(a[o]'j  2870).  Others  are  Latin:  tavsti, 
2857-70;  RO.MAN1-:  and  romane  sis,  2845-2852;  p.c.f-.  (i-  for 
fecit),  2853-50.  .\lan\' names  are  abbrexiatecl :  IIoaj  2807; 
i-.\A  2898;  and  i:^'  2()i3,  perhaps  for  the  famous  C\priole  name 
F.xagoras;  ma,  2qoo-i  i  ;  at,  2014;  sr,  2912;  cr.  with  branch, 
2900;  IT,  2919;  I,  2884-92;  (-)30C(op[o]'j  2893-96;  and  many 
lamps  bear  only  single  letters  (2904-8)  or  monograms. 

Others  have  a  maker's  mark,  such  as  a  human  foot  (2915-19), 
(2923),  or  a  sole  (2922,  2924)  or  a  circle  (2928-29)  in  place  of 
a  name;  or  in  addition  to  it,  like  the  branch  on  2927.  Some 
of  the  latest  inscriptions,  on  lamps  like  2930-49,  are  too  illiter- 
ate or  blurred  to  be  legible;  but  the\'  all  seem  to  be  Greek. 


1  erra- 
coita 
Gase 
1  ^ 


369 


IHH  COLLF.CTION 

OF  GOLD  AND  SILVER 

ORNAMLNIS 


THE  COLLECTION  OF  GOLD  AND  SILVER 
ORNAMENTS 

THE  Collection  of  Gold  and  Silver  Ornaments  is  exhibited 
in  the  Gold  Room  of  the  Museum.  It  consists  almost 
entirely  of  personal  ornaments,  and  illustrates  every  period 
of  (^xpriote  art.  Though  it  includes  nearl\-  all  the  prin- 
cipal t\pes,  it  suiTers,  like  the  rest  of  the  Collection,  from  lack 
of  precise  information  as  to  the  circumstances  under  which  the 
objects  were  found.  In  particular,  though  the  site  of  Curium  is 
famous  for  rich  tombs  of  all  periods,  no  subsequent  explorer  has 
been  able  to  identity  the  "Treasure  Chambers"  to  which  the 
greater  part  of  this  jewelry  is  attributed  by  Cesnola  himself 
(Cyprus,  Chapter  XI;  Perrot,  p.  283  i^". :  for  enquiry  on  the  spot, 
see  S.  Reinach,  Chroniques  d'Orioit  i,  p.  267). 

The  Collection  is  therefore  arranged  simplv  to  show  the  principal 
stages  of  the  jeweller's  art  in  C^yprus,  and  falls  into  the  same  main 
divisions  and  periotis  presenting  the  Bronze  Age,  the  l:arl\-  Age 
of  Iron,  and  so  lorlh,  as  ha\e  been  alread\-  explained  in  the  Intro- 
duction, p.  xx\i  ff.  A  few  objects  which  ha\e  been  resha[ied 
(like  3136),  <;r  regrouped  unskilfull\' since  their  disco\er\-  (like  312^, 
3252,  3263)  are  noted  as  thev  occur:  and  the  necklaces  of  miscel- 
laneous beads  and  pendants  (33<S<S,  3393J  now  ha\e  been  redistri- 
buted according  to  st\  les. 

I.     f)RNAMi:Nis  oi-  nil-;   uron/.i-   agi-; 

i,  ii.       HAKLY  AM)  .MIDDI.I,   l'l-,KIOI)S,   wnil   I  \  OK.  I.NOIS  CrLTfRf-: 

To  the  I{arl\-   l^ron/e  .Age.  which   has  \v\\  metallic  objects  of  an\-    |.||,|^, 
kind,  no  personal  ornaments  can   lie  asMgned  wilh  certamlw       lo  (lasi- 
the   Middle   jieriod     belong   the   ilress-pins   of    cojiper   and    bron/i'   ' 
('4074-01 )  in  the  ( Collection  of  liroii/es,  and  also  the  \  er\'  rudi'  spiral 
objects  now  to  be  described. 

57^ 


THI-:    COLl.liCTION    OF    GOLD    AND    SILVF.R    ORNAMENTS 

I  ahli'    ^(K)o  a-d.     SiMKAL  Ornami-nts,  of  silver,  or  rather  of  a  primitive 
"'^'^  allo\'  of  sil\er  and   lead.      These  objects  are   fairlv  common 

in  tombs.  When  the  burial  is  undisturbed,  the\'  are  usuall\ 
found  about  the  head,  like  the  more  artistic  spirals  of  gold 
and  siher  in  later  periods  (3336-80).  They  are  therefore 
commonl\-  regarded  either  as  ornaments  for  the  hair,  or  as 
earrings.  Such  ornaments  are  shown  in  position  on  heads 
of  stone  and  terracotta  of  later  periods  (1274,  1452-3);  and 
the  use  of  similar  jewelr\'  in  the  Bronze  Age  is  suggested  b\- 
the  rude  terracotta  figures  2009-13,  which  show  se\eral  car- 
rings  in  each  ear,  passed  through  holes  both  in  the  upper  and 
in  the  lower  lobe.  Ill,  cx\ii,  i,  4. 

iii.       LATHR  BRONZE  AGE,   UNDER  MINOAN   INFLUENCE 

The  Late  .Minoan  colonization  of  Cvprus  introduced  many  fresh 
forms  of  personal  ornament  which  had  a  long  histor\'  elsewhere. 
Some  of  these  are  native  to  the  .Aegean  homes  of  the  settlers;  others 
are  derived  from  hg\pt,  which  la\'  near  at  hand  and  became  more 
easily  accessible  in  this  period.  Side  b\'  side  with  these,  however, 
the  old  spiral  earrings,  somewhat  elaborated,  persist  into  historic 
times.  Much  use  is  made  of  thin  gold  plate,  embossed  from 
behind  with  spirals,  rosettes,  lotos  flowers  or  palm,  and  Alxcenaean 
"eight-shaped"  shields,  and  occasionallx'  with  sphinxes  and  other 
living  creatures.  Earrings  are  either  spiral,  or  "boat-"  or  "leech"- 
shaped,  or  consist  of  a  pendant  of  gold  foil  or  a  mere  loop  of  wire. 
Necklaces  are  often  multiple,  and  consist  of  sexeral  threads,  with 
control-beads  at  intervals  to  keep  the  chains  parallel.  Eyelet- 
pins   are   popular,   and   often    richl\-   decorated   with  plaited  wire. 

3001.  Sceptrh-Head  of  .Agaie,  richl\'  handed  in  brown  and 
\ellow,  designed  as  a  six-lobed  knob,  with  tubular  socket 
above  and  below.  The  form  is  probabl\'  de\'eloped  from  that 
of  the  nati\e  distatT-head,  which  appears  also  on  pins  of  the 
Bronze  .Age:  compare  3  14c)  of  siher,  and  4()0i  in  the  ("ollection 
of  Bronzes.  The  socket  contains  the  remains  of  a  shaft  of 
iron,  which  was  coming  into  use  as  a  "precious  metal"  in  the 
Late  Bronze  .Age  (p.  xxxi).  C\prus,  p.  309;  Perrot,  fig. 
5O3.  Ill,  vi,  I. 

3002.  Fronteht,  of  thin  gold  leaf,  rectangular,  and  impressed 
with  concentric  circles,  b\'  beating  over  an  embossed  stamp, 
or    a    coiled    wire.     This    embossed    technique    is  character- 

374 


300 1 


/^SS 


iun'y 


THH  (:(n.i.i:( HON  oi    cun,D  and  sii.vhr  ornami-nis 

'■J'''''-'  islic   of   .M\Lonacan   j;<)lil   work    both    in    (^\prus   and    in    ihe 

j  Aegean.         (]\prus,  p.    512;     Perrol,  fig.  ()02.  Ill,  xi,  4. 

3003-4.  .Men;  rii-PiATr;s,  inleiuied  lo  be  tied  oxer  the  mouth  of 
the  deceased,  to  seal  the  h'ps.  This  custom  prevailed  also  in 
the  C]raeco-Pln)enician  pi>riod  (32()4-6).  The  plate  3003  is  of 
thin  gt)ld,  embossed  with  rosettes;  3004,  of  gilt  silver,  thicker, 
and  modelled  to  tit  the  lips.  Ill,  xi,  3;  xxxix,  10. 

3005.  NhCKi.ACi-  of  spherical  gold  beads,  and  palmetto  pendants 
of  gold  leaf,  alternatelw  The  later  necklaces  3301-2  have  lotos 
pendants  of  a  t\pe  which  goes  back  to  this  period.        Ill,  x,  2. 

30o()-s().  Roi  NDi-Ls  of  thin  gold  plate,  intended  to  be  applied 
to  a  background  of  cloth,  leather,  or  woodwork.  Many  similar 
roundels  were  found  in  the  ro\al  "shaft -graves"  at  M}'cenac. 
3oo()-S  are  flat,  with  embossed  rosette  ornament.  Ill,  iv,  i,  6. 
3000-26,  flat  with  a  pattern  of  four  lotos-flowers.  III,iii,6-7. 

3027-56,     higlil\-  convex,  without  ornament.  Ill,  v,  2. 

3057-()i.  PhNDANT  Beads  from  a  necklace,  shaped  like  flies 
(jOt7-9),  and  lotos  petals  (3060-1). 

Ill,  i\-,   14-16  (Hies);   18,22  (petals). 

3062-3092.  Spiral  Earrings,  of  plain  gold  wire  of  two  turns 
(3062-70)  or  one  (3071-86;  3004-3119):  rather  thicker  wire 
is  used  for  3078-81.  They  are  deri\ed  from  the  primiti\e 
spiral  3000,  and  were  intended  to  hang  in  the  lower  lobe  of 
the  ear;  3()()2-86  are  elongated  so  as  to  fall  below  it.  3087-92 
are  in  siherof  tine  qualitx',  not  the  primiti\e  siher-lead;  the\' 
are  greatl\-  elongated,  and  usuall\-  of  two  turns.  That  the\- 
were  worn  in  clusters  is  shown  b\'  3087,  which  consists  of 
two  such  earrings  rusted  together. 

III,x\'ii,   1-4,   19,  20,  23,  24,  xlii,  13,  14. 

3093-31 14.  Spirals  of-  Cjold  W'iri;  like  theearrings  3062-92,  but 
not  elongated  t'or  suspension:  the\-  ma\',  however,  have  been 
worn  in  the  ears.  Ill,  x\ii,  24. 

31  13.  B()ai-shapi;d  Earring  of  gold,  deri\ed  from  the  primi- 
ti\e  spiral  of  one  turn  by  thickening  the  middle  part  and 
shortening  the  ends,  so  that  the\'  onlx'  o\erlap  slightl}' at  the 
point  of  suspension.  The\'  are  not,  howe\er,  furnished  with 
loops  like  the  earrings  (3159-60)  of  the  Earh'  Iron  .Age,  nor 
do  the\-  interlace  with  hook-and-e\'e  fastening,  like  the  later 
"loop-earrings"  (3701  IT.).  Ill,  xix,  32. 

376 


30o6 


3120 


31 16 


3018 


3113 


^140 


30C2 


3131 


3146 


5150 


J  160 


o 

3lO(<  3163  3itJ7 


THE    COLLECTION    OF    GOLD    AND    SILVER    ORNAMENTS 

Table   3116-3135.     PtNDANT   Earrings,  consisting  of  a  thin  gold  wire 
^^^-  occasionaIl\-   swollen    slightl>-    towards   the   middle:   the   ends 

usualh'  o\erlap  like  3113,  but  sometimes  are  simpl\-  twisted 
together  for  seeurit}':  312s,  3126,  3130,  howe\'er,  seem  to  be 
late  "loop  -  earrings"  wrongly  added  to  earl\'  pendants. 
On  the  wire  is  threaded  a  pendant  of  thin  gold  plate  embossed 
in  the  shape  of  a  bull's  head  (31 16-3130);  but  in  3131-5  the 
original  design  is  forgotten,  and  its  features  are  transformed 
into  palmettes  (3131-4),  or  zigzag  lines  {3135);  a  striking 
example  of  decorative  degeneration.  This  t\pe  is  common 
in  the  M\cenaean  tombs  at  Enkomi.  1 1 1,  x\i,  1-13,  15-19. 

3  1 16  is  rather  larger  and  has  lost  its  back-plate  and  suspension- 
ring:  but  it  seems  to  be  of  the  same  class  as  the  rest,  though 
of  more  barbaric  and  angular  st\ie  and  probabh'  of  later 
date. 

3136.  Earring  composed  of  a  narrow  gold  ring,  of  which  the 
ends  should  overlap,  but  are  now  distorted:  an  exacth'  similar 
example  from  Enkomi,  in  the  British  Museum,  makes  the 
original  shape  certain.  At  the  middle  point  of  the  ring  pro- 
jects a  granulated  ornament,  which  ma\'  ha\'e  been  imitated 
from  the  bull's-head  pendants,  31  lO  fT.,  and  perhaps  gives  rise 
in  turn  to  the  "mulberr\'"  earrings  3169-74  of  the  next 
period.  Ill,  x\  i,  14. 

3137.  Pin  Head  of  gold  foil,  forming  a  bull's  head  in  the  same 
st\ie  as  the  earrings  31 16-35.  "I-  ^^''  33.  or  35. 

3  1 38-42.  Lhntoid  Beads  of  gold,  made  of  thin  plate;  of  character- 
istic Late  Minoan  form,  circular  with  a  deep  longitudinal 
groo\'e;  (3138-40,)  or  o\al(3  i4i-2)the  t\'pe  is  derived  from  the 
lentoid  seal-stones  and  stone  beads  of  this  period  like  3143. 

Ill,  iv,  21. 

3143  a,  b.  Lentoid  Beads  of  Sard  from  a  necklace;  these  are  the 
protot>'pes  of  gold  beads  like  3138-42. 

3  144.  Cylinder-Mounting  of  Gold,  one  of  a  pair,  for  an  Oriental 
cxiinder  of  rather  more  than  average  size.  Smaller  mountings 
of  this  kind  have  been  found  enclosing  a  Bab\lonian  c\iinder 
in  a  Bronze  .Age  tomb  at  Agia  Paraskex'i,  now  in  the  C\prus 
Museum.  C]..\LC.  4501  :  compare  4345,435  i.  which  ha\e  these 
mountings  imitated  in  steatite. 

3145-8.  Funnel-shaped  Mountings  of  Gold,  with  recur\'ed 
rim,  former!}'  described  as  the  mountings  of  large  c\iindrical 

378 


LATER  BRONZE  AGE.   EARLY  IRON  AGE 

seals.     Similar  mountings  ha\e  been  found  in  a  Bronze  Age    Table 
tomb  at  Agia  Paraskevi,  now  in  the  C\prus  .Museum,  C.M.C. 
4502.     These  ma\-,  however,  be  the  separable  necks  of  scent- 
bottles,  like  3tC)8;  in  which  connection  compare  the  sihcr  ob- 
jects described  as  "loom-rings,"  C.iVI.C.  4801-3.         Ill,  i\-,  3-4. 

3149.  Pin  of  Silver,  modelled  like  a  distaff-head  of  man>-  lobes; 
compare  the  lobed  sccptre-head  3001,  and  the  earl\-  bronze 
pin  4691 .         Cyprus,  PI.  xxi;  Perrot,  fig.  569  111,  x.xxi.x,  13. 

H.   ORNAMENTS  OF  THE  EARLY  IRON  AGE 

i.     ii.       TRANSITIONAL    AND    GEOMETRICAL    PERIODS 

In  contrast  with  the  show\-  but  unsubstantial  gold  leaf  from  the 
.M\-cenaean  tombs,  much  of  which  must  ha\e  been  made  expressl\' 
for  funerar\-  use,  the  rarer  ornaments  of  the  Earl\-  Iron  .Age  gi\e 
the  impression  of  e\-ery-da\'  solidit\-,  and  not  infrequently  show 
signs  of  wear.  In  this  period  gold,  though  far  from  copious,  is 
much  commoner  than  siher,  and  is  often  of  a  warmer  colour  than 
the  M_\'cenacan  gold.  Most  of  the  t\pes  are  deri\'ed  from  those 
of  the  M}-cenaean  tombs,  but  there  are  a  number  of  fresh  experi- 
ments. The  series  of  earrings,  with  their  \arious  fastenings,  is 
particularly'  instructi\e.  In  the  Geometrical  Period,  "granu- 
lated" surface  decoration  as  on  3i(S6-8  begins  to  be  characteristic. 
It  is  produced  b\'  soldering  upon  a  smooth  surface  man\-  minute 
balls  of  gold  either  in  solid  masses  or  in  decorati\e  triangles, 
zigzags,  and  other  dexices.  It  occurs  but  rarel\-  in  .Minoan  gold- 
work  (3136),  and  in  Greek  ornaments  it  is  replaced  b\-  filigree 
work  of  soldered  wire:  3313,  3321  are  earlv  exampk>s  (tf  this.  All 
these  objects  are  of  gold  unless  otherw  isi'  described. 
Earrings,  in  this  period,  c(}nsisl  either  of  a  plain  circlet,  with  ends 
overlapping  or  looped;  or  are  of  "boat  "  or  "leech"  shape,  derixed 
from  the  .M\'cenaean  (311s),  hut  sometimes  adorned  with  "cage- 
and-ball"  pendants  (3178-8^). 

3150-65.  l-'.ARL^'  lv\RKi\<,^  of  simple  form,  dt'wloping  experi- 
mentally in  the  direction  of  the  "  boat-shaiU'd  "  earrings  ]  ](>()  If. 
3150-8  consist  of  a  plain  ui\lel,  the  ends  of  which  oN'erlaji 
at  the  point  of  suspension,  but  do  not  interlock.  The  circlet 
is  svmmelrical,  slightK'  swullen  in  the  middle,  and  ex'en  llat- 
tened  or  hollowed  on  the  inner  surface,  tor  econom\-  of  metal. 
This  is  the  first  approximation  to  the  "  boat-shajH'd "  t\pe 
3115,  3i()()  ff.  Ill,  xix,  21,  22. 


IHl-    COLLlXrilON    Ol-    GOLD    AND    SILVHR    ORNAMENTS 

1  ahk'  :!i5r)-(K)  rcsenihlo  ^i^o-S,  but  ha\c  each  end  twisted  back  upon 

"j  itself  to  form  a  loop,  thn)Ugh  which  the  earring  must  have 

been  tied  to  the  ear  b\'  a  thread. 

^i()i  has  the  two  ends  twisted  together  in  a  slipping  knot; 
the  circlet  is  slender,  and  has  a  negro's  head  in  steatite  threaded 
on  it  like  a  bead:  compare  the  steatite  heads  1 550-1  which 
are  in  the  same  st\le.  ill,  xviii,  3. 

3i()2-3  ha\e  the  bod\-  of  the  circlet  thickened  till  it  forms  a 
transxerse  keel.  The  twisted  ends  are  now  mcrel}'  decorative, 
and  the  suspension  loop  is  replaced  by  two  arms,  hinged  to 
the  boat-shaped  bod\',  with  their  free  ends  meeting,  so  that 
the  earring  was  held  to  the  ear  b\'  its  own  elasticity. 

1 1 1,  xxiii,  35,  36. 
3164-5  are  of  the  same  form  as  3162-3,  but  their  ends  are 
twisted  together  in  a  slipping  knot  like  3  161.  Ill,  xxiii,  29,  30. 
3166-77.  Boat-shaped  or  Leech-shaphd  Earrings  of  the  full\- 
developed  boat-shaped  t}pe.  The  loop  of  3166  is  now  \er_\- 
long,  and  the  bod\-  somewhat  flattened  to  a  p}ramidal  form. 
Outside,  a  cluster  of  four  small  gold  balls  is  added  below: 
this  ornament  seems  to  originate  in  late  .Mxcenaean  earrings 
like  3136,  and  goes  on  into  the  period  of  Oriental  influences. 
3167-8  are  of  similar  "boat-shaped"  t\'pe,  with  four  gold  balls 
and  a  decorative  binding  of  wire.  But  the  upper  part  of  the 
circlet  is  now  unsvmmetrical  and  opens  with  a  hinge.  Hinges 
of  this  kind  are  usuallx'  (jraeco-Roman  at  earliest,  as  in  3609, 
but  the  workmanship  of  these  examples  seems  to  refer  them 
to  the  Earl\-  Iron  Age.  Ill,  xiii,  18. 

3169-75  probablx-  represent  the  "three-balled,  mulberr\-like" 
ornaments  of  the  Homeric  .Age.  The  circlet  is  slender,  and  at 
the  lowest  point  is  a  cluster  of  hollow  gold  balls,  rendered  as 
if  attached  to  the  circlet  by  a  lashing  of  gold  wire.  The  ends 
are  plain  and  do  not  oxerlap.  Later  "mulberry  earrings" 
occasionall\-  reappear  in  Hellenistic  tombs  (3612-4)  and  are 
distinguished  b\-  their  poorer  workmanship  and  hook-and-e}e 
fastening.  HI,  xiii,  15,  16. 

3  176,  a  pair  of  these  "boat-shaped  "  or  "leech-shaped"  earrings 
in  siher,  shows  how  the\'  were  worn  in  a  cluster  in  the  ear. 

3177,  in  gold,  shows  the  "boat-shaped"  earring  full_\-  developed 
with  a  prominent  keel  and  unsxmmetrical  loop.  One  end 
of  the  original  circle  of  wire  is  now  obsolete,  and  the  other 

380 


EARLY    IRON    AGE 


has  become  a  long  hook  which  passes  through  the  ear  and 
returns  to  meet  the  front  end  of  the  bodw  III,  xix,  i8. 

3178-85.  Boat-shaped  Earrings  with  "Cage-and-Bai.l"  Pen- 
dant hanging  b\-  a  loop  below  the  boat-shaped  body.  This 
ver\'  popular  ornament  consists  of  a  gold  cube  surmounted 


labk 
Case 


y 


i  I 


3171        3177      3178      3188       3189         3190 

by  a  pyramid  of  balls  enclosed  in  an  arched  frame.  The 
meaning  of  this  pendant  is  unknown,  though  some  have  taken 
it  for  a  measure-full  of  corn.  It  is  sometimes  found  associated 
with  a  second  pendant  representing  a  hawk  of  E{g\ptian 
sl\ie,  but  it  seems  to  ha\e  appeared  in  the  se\enth  centur\' 
before  Eg\'ptian  influence  is  strong.  It  went  out  of  use  in 
the  sixth.  C\prus,  p.  297,  and  PI.  xx\ii.  1 1 1,  xxiii,  3  i,  32. 

3186-8.  (Control-Beads,  perforated  trans\ersel\',  to  be  worn  in 
a  collar  of  two  rows:  the\'  ha\'e  a  flat  rectangular  surface 
covered  with  granulation  within  a  narrow  border. 

3189-93.  Pi-.ndant-Discs  of  (k)LD,  made  of  solid  plate,  with  a 
tubular  collar  on  the  edge,  b\-  which  the  pendant  was  threaded 
on  a  necklace.  These  discs  are  characteristic  of  the  Parh' 
Iron  .Age.  7'he\'  are  ornamented  with  concentric  rings  in 
relief,  and  other  ornaments  in  granulated  work.  3189  is  orna- 
mented wholh'  with  triangles,  like  those  on  the  Harl\'  Iron 
Age  potter}'   (301   tf.),  outlined  and  tilled  with  "granulation." 

Ill,  XIX,  28. 

3190  has  an  ornament  of  small  balls  and  rings  of  twisted  wire, 

soldered    to    its   surface,    an    earl\-   experiment    in    the   filigree 

work  which  e\entuall\'  superseded  granulation:  it  ma\'  be  as 

late  as  the  sixth  centurw 

3if)i-3   are   smaller  and  of  simjiler  design;    ^K)^   has   now  no 

loop. 

'',104-7.  Pi-Aori.s  of  thin  gol-J  leaf,  rectangukir,  and  perforated 
at  the  edgi's  for  attachment  to  cloth  or  Kalher.  lake  other 
examjiles  of  this  r;ire  cl:iss  of  ornament,  the\'  iMjre  embossed 
representations,  now  cjuite  tiisfigured. 


lable 
Case 


THE    COLLECTION    OF    GOLD    AND    SILVER    ORNAMENTS 

3ic)8-320Q.  Fibulae  oi-  Gold  and  Silnhr,  following  the  types 
classified  and  described  in  detail  in  the  Collection  of  Bronzes. 
3Iq8  of  gold  (r\pe  iii)  with  slender  bow,  stilted  and  rather 
strongh'  archeii:  compare  4734-40,  in  the  Collection  of  Bronzes. 


3198 


3201 


3209 


Gold  fibulae  are  at  present  onl\-  known  from  the  earliest 
tombs  of  the  Transitional  I  ron  Age :  the  other  recorded  examples 
have  a  higher  stilt  and  flatter  bow  than  this  one,  which  is  the 
onl\'  one  of  its  kind  in  gold.  Perrot,  tig.  595.  Ill,  .\li,  i. 

3109-3203  of  sih'cr  (T\pe  ii):  3199-3200  ha\c  a  plain  wcll- 
curved  bow,  unstilted,  III,  xli,  7,  8;  3201  has  a  hea\y  bead 
worked  at  each  end  of  the  bow,  III,  xli,  2;  3203  has  similar 
beads,  added  separateh',  III,  xli,  3.  In  3201-2  the  pin  is 
attached  not  hv  a  spiral  spring,  but  by  an  e\elet,  perhaps 
after  breakage;  but  the  de\ice  ma\"  be  something  more  than 
a  makeshift,  since  similar  springless  fibulae  are  recorded  from 
earl\'  tombs  at  .-Xmathus  and  Kurion. 

3204-7  of  siK'er  (  Txpe  iii)  with  high  stilt  and  bow  swollen, 
for  strength.  Ill,  xli,  4,  6,  8. 

3208,  of  hard  cla\'  ( iN'pe  iii)  with  a  socket  in  one  end  of  the  bow 
for  a  metal  wire,  seems  to  be  an  original  model  for  casting 
fibulae.  It  represents  a  \ariety  with  ver\'  swollen  bow,  and 
a  prominent  moulding  upon  it. 

3209  of  sil\'er  (  I  >  pe  i\)  with  central  knob  and  collar,  and 
axe-head  ornaments  on  the  bow.  It  shows  copious  traces  of 
gilding.         C\prus,    PI.   xxi   (inaccurate).  Ill,  xli,  5. 


III.       ORNA.MENTS    OF    THE    PERIOD    OF    ORIENTAL 
INFLCENCES 

I  able    The    t\pcs  of  this   period   are  tor  the  most   part   de\  eloped   from 

Case    those  of  the  Parl\-  Iron  Age;  but  their  \-ariel>-  is  greater,  and  their 

"    ornament    is    dominated    b\'    Oriental    motixes,    palmette,    lotos, 

382 


PERIOD    OF    ORIENTAL    INFLLHNCES 

guilloche.     Sil\er  becomes  very  abundant  towards  the  end  of  this    Table 
period.     The   gold    loses    the    warm    colour    characteristic    of   the    -' 
Early  Iron  Age,  \et  as  a  rule  is  not  greatl\'  alloyed  with  silver;  but 
it  is  seldom  solid,  and  is  often  economized  by  plating  it  on  a  bronze 
foundation.     Granulation    is  now    combined    with    filigree    work 
in  gold  wire. 

The  earrings  elaborate  the  "boat-shaped"  t\pe  inherited  from  .My- 
cenaean times:  the  bod\'  is  symmetrical,  and  often  clearl}'  marked 
off  from  the  loop,  which  has  its  opening  low  down  on  one  side; 
pendants  and  other  ornaments  are  added  below  the  bod\';  or 
the  body  itself  is  made  hollow  to  hold  a  coloured  stone,  but  prob- 
ably not  much  before  the  fourth  centur\-. 

3210-3  I .  Earrings  w  ith  "  Nail-Head"  Pendant  either  cast  solid 
on  the  bod\'  of  the  earring  (3210-24),  or  suspended  from  it 
b\'  a  ring  (322 5-27 j.  These  earrings  were  commonly  worn  in 
clusters,  for  they  are  sometimes  found  rusted  together  (3226). 
The\'  are  commoner  in  silver  (3222-7)  than  in  gold  (3210-21), 
but  some  of  the  siher  ones  show  traces  of  gilding.  322<S-3i 
are  detached  nail-head  pendants  from  similar  earrings.  C\p- 
rus,  PI.  xxvii;  (32  10-2  i). 

Ill,  .xxiii,  33,  34  (3210-21);  ,\lii,  16-18  (3222-7). 

3232-4.  Earrings  with  IIathor-Head  Pendants;  of  siher,  gild- 
ed and  fitted  with  rings  below  for  other  pendants. 

3235-47.  Earrings  with  Pendants  of  \arious  design:  3235-7, 
in  gold,  ha\e  a  lotos  tlower  with  two  discs,  from  which  again 
hang  three  bud-shapeil  pendants  (some  now  missing),  one  in 
carnelian,  two  in  thin  gold  embossed  to  imitate  granulation; 
probabl\'  of  the  sixth  centurw  These  jiendants  show  the 
protot\pe  of  the  "spear-point  "  ornament  (•i^()4-())  which  pla\s 
so  large  a  part  in  Hellenic  jewelr\'  of  the  fifth  ;inii  fourth  cen- 
turies,        ('xjirus,  PI.  xx\ii.  Ill,  xix,  -55,  ](). 

323<S  has  a  lotos  design  in  the  earliest  st\le  of  filigree  work 
of  the  sixth  centur\',  in  which  the  wire  is  still  notched  tr;uis- 
\crsel\-  to  simulate  granulation.  1  rom  a  small  lotos  pen- 
dant,   three   be;ids,    now    missing,    were    hung   on    gold    wires. 

Ill,  xix,   iC 

323()  has  later  filigree  work,  ;in(l  no  in'iulanls.  MI.  xix.  24, 

^240-5  are  of  the  same  boal-sh;iped  form,  but  .smaller  and 
[ilain.  III.  xix,   17,  J  i. 


THH    C:OLl.l-(.ri()N    Ol     COLD    AND    SIl.VllR    ORNAMHNTS 


1:1  hie 
Case 


3244-7.  Boa  r-sii.\iM;i)  I^akkinc.s  with  the  bocix'  cut  away  below 
to  form  the  setting  tor  earneh'an  (3244-())  or  lapis-hizuli  (3247). 
I'hese  earrings  liaxe  been  regarded  as  much  later  in  date  than 
the  plain  ones,  on  the  ground  that  the\-  contain  coloured 
stones;  but,  as  alread\'  noted,  it  does  not  seem  safe  to  assume 
that  the  use  of  coloured  stones  begins  so  late  in  Cvprus  as  it 
does  in  Greece  and  the  West,  and  the  granulated  decoration 
of  these  earrings  suggests  an  earlier  date.  Ill,  xix,  19,  20. 


f 


3210 


n 


3244 


3240 


3252 


3233 


3248-51.  LoBiD  Earrin(;s,  of  electrum,  have  the  body  divided 
transversel}'  into  five  lobes,  on  which  are  filigree  rosettes. 
This  lobed  t\pe,  which  is  closely  related  to  the  boat-shaped, 
begins  earlv  in  the  Troad  (Hadaczek,  Ohrschmuck,  fig.  4)  and 
in  Ionia,  where  it  is  characteristic  of  the  votix'e  ornaments,  of 
the  eighth  centur\-,  from  the  Temple  of  .Artemis  at  Hphesus. 
In  Egypt,  another  variety  has  been  found  in  deposits  of  about 
the  same  date.  In  Greece,  and  also  in  Etruria,  it  gives  rise 
later  to  a  rich  series  of  lobed  and  barrel-shaped  forms.  In 
Cvprus  this  t\pe  is  exceedinglx'  rare,  and  the  pale  "electrum" 
alloy  of  which  these  examples  are  made  suggests  Ionian  origin. 
Their  workmanship  cannot  be  much  earlier  than  the  sixth 
centurw     (^>'prus,  p.  310;     Perrot,  fig.  ^>>^.  Ill,  xiii,  4,  5. 

3252.  Cloisonnh  Earrinc.  with  PtiNDANT.  This  has  the  bod>- 
replaced  b\'  a  cloison  ornament,  representing  an  b.gxptian 
conventional  plume  of  feathers:  it  is  set  with  a  carbuncle 
(perhaps  not  original),  and  formerlv  contained  other  stones 
or  inlaw  Below  is  a  pendant  hawk  in  thin  gold.  The  strongl\' 
Egyptian  st\ie  suggests  a  date  in  the  sixth  centurv,  but  if, 
as  is  likelx',  the  earring  is  of  Egyptian  workmanship,  it  ma\' 
be  later.  It  should  be  compared  with  the  cloisonne  finger- 
rings  4071-2.  1 1 1,  XX,  I  5. 

3253-8.  Earrincs  with  Path  "Mulberry"  Ornaments  in  which 
the  large  p\  ramid  of  balls  is  enriched  b\'  other  smaller  pyramids 

384 


PERIOD    OF    ORIENTAL    IN  FLU  liNCES 

like  those  of  the  "cage-and-hall"  earrings  3178-85.  C\'prus, 
p.  310;     Perrot,  fig.  584.  Ill,  xiii,  i,  3. 

3259-60.  Hathor-Hhads  embossed  in  thin  gold  and  suspended 
from  a  twisted  wire.  The}-  may  be  pendants  from  earrings, 
or  perhaps  were  used  separate!}'.  Ill,  i\-,  28,  29. 

3261-7.  Spiral  Earrings  of  Silvhr,  small,  plain,  and  closely 
coiled.  They  cannot  have  been  inserted  in  the  ear,  but  may 
have  been  tied  to  it  like  some  of  the  earlier  earrings. 

3268.  Control-Plaql'f.  of  Siiahr,  from  a  necklace  of  three 
rows,  designed  with  a  setting  for  a  Jiat  stone:  the  gold  palmelte 
which  now  occupies  this  is  not  original. 

3269-70.  Phndants  of  Sii.\fr:  3269  with  geometrical  ornament, 
fragmenlar}-;  3270  with  two  figures  in  Eg\ptian  st>ie,  beneath 
a  winged  disc. 

3271-6.  Bracelfts  of  SiLVtR  Plath,  richly  engraved  and  gilded: 
3274  has  lotos  and  cable  pattern;  3275-6  have  panels  of  winged 
figures,  lions,  and  men,  in  .Archaic  Cxpriote  st\le. 

Ill,  xxxix,  1 1. 

3277-f).       0)NTROI.-1'LAQLE   and   RfADS   from   a  SlLVFR   KhCKLACE. 

The  plac]ue  3277  has  an  embossed  design  of  lotos-tree  and 
sphinxes,  like  that  of  the  funerarx'  stelae  1412,  1420,  in  the 
(".ollection  of  Sculpture. 

The  beads  3278  a,  b,  3279  a-i,  are  rectangular  plates  em- 
bossed with  female  heads,  like  those  on  325()-()o,  but  of 
rather  later  style.  These  beads  are  of  two  sizes,  but  all 
of  about  the  same  date,  in  the  sixth  centurx'.       Ill,  xxxix,  21. 

3280-1.  Bracf.lfts  of  Gold  (T.oisonnl  Work.  On  a  smooth 
gold  base  of  thick  gold,  which  closes  with  a  hinge  and  clasp, 


iable 
Case 


3280 


32,Si 


a  frame  of  tleep  gold  cloisons,  once  filled  uith  enanuT  encloses 
panels  e;ich  containing  a  six-iiointetl  roM'lIeol  Miiiilar  cloiMHine 
W()rk,exce[it  ihe  end  jianels,  w  liich  contained  enibossrd  plat|Ues, 
one  of  which  is  iireserxinl  and  sIiown  a  lion's  head  in  fine  I.g\ 41- 


THH    COLLHCTION    OF    GOLD    AND    SILVER    ORNAMENTS 

1  able  tian  st\'Io.     The  rosette  panels  recall  a  favourite  ornament  ol 

'  ^j^  the  sixth-centur\'  potters  in  Cxprus:  compare  699  in  the  Col- 

lection of  Potter\'.     But  the  gold  work  is  probabl\'  Egyptian. 
C\prus,  p.  311;     Perrot,  tig.   599.  Ill,  ii,   5. 

3282.  Grasshopper  of  Gold  perhaps  intended  for  a  pin-head: 
possib]\-  in  imitation  of  the  famous  tettix  or  cicada-ornament 
worn  b\'  Athenian  citizens  in  their  hair.  ill,  iv,  26. 

3283-7.  Figures  of  the  Mother  -  Goddess  in  Gold  designed 
for  suspension  b\'  two  loops  at  the  back.  The  pose  and 
working  of  the  back  and  sides  suggest  that  these  are  developed 
from  a  grasshopper  ornament  like  3282.  Ill,  iv,  8. 

3288.  Pendant  Bead  of  Agate  in  Egyptian  setting  of  gold  fea- 
thers. 

3289.  Plaque  of  Gold  with  engraved  representation  of  .-Xtlas 
in  EgN'ptian  st\ie  supporting  the  sk\-,  as  on  the  scarab  4407: 
from  a  necklace.         C\prus,  PI.  xxxiv,  6.  Ill,  \,  4. 

3290-6.  Frontlets  of  Gold  Foil;  ornamented  with  archaic 
Greek  palmettes  3290-3,  or  birds  3294:  the  shorter  and 
broader  examples  ma\-  ha\e  been  used  as  mouth-plates. 

Ill,  xi,   I,  2,   5. 

3297-3302.  Necklaces  now  begin  to  be  frequent  and  elaborate; 
the\'  often  consist  of  several  rows  of  beads  and  pendants  with 
numerous  control-beads,  or  of  wide  beads  strung  on  parallel 
threads.  Chalcedonx',  carnelian,  sard,  and  banded  agates 
come  into  use  for  beads,  as  for  seal-stones,  probablx'  in  the 
later  sixth  centurw  .Amulets  of  Egyptian  glaze  are  popular 
also. 

3297,  gold  spindle-beads,  with  spherical  controls.  Ill,  ix,  5. 
3298-3302,  gold  pendant-beads,  representing  lotos-flowers 
(3299,  3301-2)  and  their  buds  (3298,  3300),  alternate  with 
spherical  beads:  3300  was  designed  for  cloisonne  enamel. 
3301  has  pendants  of  a  ver\"  early  t\  pe  and  ma}' be  ofCxpro- 
M>-cenaean  work.  Cxprus,  PI.  xxiii;  Perrot,  fig.  576  .A  (3298). 
Ill,  x,  I  (3302),  s  (3300).  6  (3301).  7  (3299)- 

3303  (a)  The  beads  represent  tortoises  and  frogs  and  are  of 
agate  and  carnelian,  alternating  with  gold,  solid  or  in  relief: 
thev  probabh'  represent  more  than  one  necklace.      Ill,  i\',  7. 

3303  (b)  The  larger  frog-bead  in  black-banded  agate  looks  like 
Egyptian  work. 

386 


PERIOD    OF    ORIENTAL    INFLUENCES 
3304-35.     Pendants  and  Beads  from  necklaces  of  similar  st\Ie;   Table 
3304-10  are  simple  lubes  with  collared  ends.  331  1-12  are  con-    ii 
trol-bcads  perforated  for  a  triple  or  double  necklace. 
3313-21,    tubular    pendants,  to  be  hung  vertically  (3313-15) 
or   horizontally    (3316-21);   these   peculiar  objects  had  some 
ritual   meaning,   for  they   are  commonly   represented   in   the 
strings  of  charms  on  statues  of  votaries  like  1 191  and  temple- 
boys    1204-22.     They  may  ha\'c  contained   relics  or  written 
charms,  like  the  Jewish  phylacteries.     33  13,  club-shaped,  with 
filigree  loops  or  eyes  on  the  surface. 

3316-21,  tubular  pendants  to  be  hung  horizontally:  3316-18 
seem  to  represent  a  string  of  five  beads,  or  perhaps  a  pea-pod, 
as  in  a  Phoenician  gold  earring  from  Tharros;  3319-21  are 
cylindrical,  like  3314-15,  with  one,  two,  or  three  suspension 
rings;  3321  has  granulated  filigree  ornament,  of  the  late  ninth 
centur}'. 

3322,  c\'e-shaped  pendant;  a  plain  box-setting  for  enamel 
or  stone  now  missing;  below  it  hang  three  fine  chains  with 
clusters  of  bell-shaped  flowers.  C\prus,  PI.  xwiii.  Ill,  iii,  3. 
3323-5,  crescent  pendants,  with  clusters  of  bell-shaped  flowers 
hanging  from  their  downward  points  (3323-4).  C\prus,  PI. 
xxvii.  3332  is  smaller  and  has  its  points  joined  lighth'. 

ill,  xxiv,  23. 
3326-35,  control-beads  and  pendants  of  various  forms:  3326 
has  a  plain  sard  scaraboid  in  a  setting  like  the  swi\el  mount 
of  a  signet  ring;  3327-30  gold  lion-head  pendants,  probabl}' 
of  the  earl}'  fifth  centur\';  3331  another  lion-head,  perhaps 
frcjm  an  earl\'  bracelet  like  355(S-6i;  3332  is  a  bull's-head  jien- 
dant  of  the  same  st_\le  as  3327-30;  333^-5  six-pelalled  flowers 
of  gold,  from  a  necklace.         (;\prus,  PI.  xxi. 

IV.       ORNAMl-NTS    OF    HFIITiNIC    STYLF.S,     111   til    AND 
FOURTH    CFNTURIIiS    H.  C. 

F'rom  the  middle  of  the  fifth  centur\-  onwards,  Hellenic  l\pes 
cfjmpete  with  the  traditional  ( iraeco-Phoenician  forms,  and  rapitll\' 
supersede  them.  Though  in  Cyprus  the  \:ine;\'  of  torni  is  iiol 
so  exuberant  as  in  (ireece  and  ltal\-,  se\eral  t\  pes  wx-re  tle\eioi)i'd 
here  which  have  some  artistic  interest.  .Most  ri-markabk'  are  the 
great  spiral-earrings,  in  sii\cr  or  gokj-phited  liron/e.  whicli  begin 
near  the  close  of  the  fifth  centur}',  and  are  out  of  fashi(jii  ;igain  b\' 

3«7 


T;ihK 
Case 


IHli    (.()1.1.1a:1  ION    Ol     GOLD    AND    SILVER    ORNAMllNTS 

lable   the  mideilc  of  tlie  lourth:  these  are  a  tiislaiit  inheritance  from  the 

.'^"    Bronze  Asic,  and  dill'er  less  from  their  nrololxoe  and  from  one  an- 
111  '^  . 

other,  than  do  the  spirals  ol  CJreece  and  the  \\  est.     Animal-headed 

earrings,  vvnich  are  common  to  the  whole  Oreek  world,  and  appear 

in  the  West  in  the  sixth  centur\-,  begin  in  Cxprus  rather  suddenly 

at  the  end  of  the  fifth  centiir\-,  and  soon  supersede  the  boat-shaped 

t\pe,    of   which    the   latest    \arieties    in    C^xprus    do  not   seem   to 

go  far  into  the  fourth  centurw     Animal-headed  bracelets  appear 

in  C^\-prus  about  the  same  time.     Among  the  necklaces,  pendants 

shaped  like  vases,  acorns,  or  spear-points  are  common:  these  are 

modifications  of  the  older  lotos  bud.      Figures  of  animals,  monsters, 

and  human  beings  begin  to  be  common,  and  show  some  approach 

to     naturalism.     Filigree    work    superseded     granulation     almost 

wholl\'  in  the  fourth  centur\-;  and  experiments  in  colour  are  made 

with  enamels,  and  with  beads  of  sard  and  carnelian.    The  garnet,  of 

which  the  chief  sources  were  in  Syria,  probabl}-  reached  C>'prus 

earlier  than  the  rest  of  the  Greek  world,  where  it  is  not  common 

till  the  third  centur\'. 

3336-3375.  Spiral  Earrings  of  Gold-plated  Bronze  with  finely 
WTOught  gold  terminals.  The  smaller  examples  have  plain 
ends;  bat  the  majoritx'  end  in  ornaments  of  embossed  gold 
plate  and  filigree  work,  missing  in  some  cases:  either  rosettes 
(3344-66),  or  the  heads  of  lions  (3367-8),  or  griffins  (3369-73), 
or  two  griffins  side  b\'  side  with  filigree  rosette  below  (3374-5). 
The\'  were  worn  in  the  upper  lobe  of  the  ear,  and  are  found 
so  in  tombs  of  the  late  fifth  and  earl\'  fourth  centuries,  and 
represented  on  statues  like  108^  in  the  Collection  of  Sculpture. 
Cyprus,  p.  310  (3367-8);  PI.  xxviii  (3307-8,  3369  tT.,  3374-5); 
Perrot,  fig.  573  and  p.  882  (3367-8),  570  (33()9-73)'  57'-2 
(3374-5).  1 1 1,  x\ii,  6-18;  xlii,   (),  (). 

3376-80.  Spiral  Earrings  of  Silver,  of  the  same  t\'pc  as  3336-75. 
The  spiral  is  of  one  turn  only  (3376-80),  or  two  turns  (3379). 
The  terminal  lion-heads  of  the  pairs  (rusted  together)  3376-7 
are  of  gold;  but  others  are  known  with  heads  of  silxer,  perhaps 
gilded  originally.  The  flower-sh;iped  pendant  from  an  ear- 
ring, entangled  in  3380,  is  direct  proof  of  the  position  in 
which   it   was   worn.  Ill,   xlii,   1-5,7-8. 

3381  a,  b.  Di^c  F.arring  of  Gold  (3381  a),  of  slightl}'  convex 
form,  covered  with  gr;inulation;  on  the  back  is  a  low  collar  or 
socket.     This  is  a  ver\-  rare  example  of  the  most  characteristic 

388 


HELLENIC    STYLES 


t\'pe  of  Greek  earring  in  the  fifth  centurx',  which,  though  repre- 
sented in  sculpture,  in  \ase-paintings,  and  on  coins,  is  seldom 
found  in  tombs.  Worn  in  front  of  the  lower  lobe  of  the  ear,  it 
was  probabl}-  secured  through  a  hole  in  the  ear  by  a  stud  which 
fitted  into  the  socket  behind  the  front  piece.  In  a  siher 
earring  of  this  t\pe  from  Amathus  (Brit.  Alus.  1605-6)  this 
stud    is    preser\ed.         C_\prus,    p.    326.  Ill,  ^■,  i. 

3381  b  is  the  stud  from  a  similar  silwr  earring.  In  Italian 
earrings  of  the  same  date  and  form,  ho\\e\-er,  the  front  piece 


lable 
Case 


J  3  ^7 


3382 


3374 


338KI 


lias  a  short  rod  instead  of  a  socket,  to  penetrate  the  ear,  and  be 
secured  b\-  a  wire  or  chain  passed  through  an  e\elet  in  its  end. 

33S2.  Sphinx  Phndant  from  a  necklace,  showing  a  sphinx  seated 
full-face,  embossed  on  a  thin  gold  plate;  the  wings  are  of  the 
curled  archaic  form,  and  the  details  show  a  comitinalion  of 
actual  granulation  with  a  punctuated  surface  intentied  to 
imitate  it.  (^xjirus,  PI.  xx\-;  Perrol,  tig.  S()3.  Ill,  \,  3. 

33S3-5.  Pi-;nd,\ni  Di^cs  01  (ioLi),  like  tho^i'  of  the  I-'arl\-  Iron 
.Age  f3iS(j-()3),  but  of  hiU'r  st\le;  ^^,'85-4  ha\"e  con\enlion- 
alized  lotos  flowers  and  buds  in  filigree  work.  (^xjm'US,  PI. 
xx\i;  Perrot,  fig.  --,-(>  1  . 

3385  is  granulaltd,  and  has  three  ckislers  of  small  bells  hung 
on  chains  from  ils  lower  t'dge:  the  agate  which  occupies  its 
centre  seems  not  to  be  original.  Perrot,  fig.  t()o. 

Ill,  iii.   I,  2  f{v'^'l--Pl;   ^iii.  3  MV'^s)- 

3  V'^')--i4""-  Ni.CKi.ACi,^  AMI  Plndani-  iinw  shuw  filigree  work 
replacing  granulat inn,  and  mure  fri(|uenl  use  of  C(il(>iired 
stont-s  alternating  with  gold;  the  earlieNl  and  commonesl 
are  sard,   carnelian.   and   agale;  chaLedony   and    rock  uAsta! 

3i8() 


THE    COLLECTION    OF    GOLD    AND    SILVER    ORNAMENTS 

lable  are    less    common:     compare    the    stones    used    for    engraved 

j'lj  signets  of  the  same  period  41 3()  fT.     Coloured  enamel  is  used 

to  fill  the  interspaces  of  filigree  and  cloisonne  work;  and  to- 
wards the  close  of  the  fifth  century,  opaque  coloured  pastes 
were  alread\-  in  use  at  Amathus  as  a  substitute  for  stones. 
Pendants  are  common,  but  are  treated  not  as  independent 
amulets,  but  as  decoratixe  elements  in  a  larger  design.  The 
old  lotos  bud  is  differentiated  into  spear-heads,  acorns,  and 
small  amphorae;  and  these  in  turn,  intoother  \ascs  (3623-33). 
The  necklaces  here  described  are  for  the  most  part  retained 
as  the\-  were  published  in  the  Atlas,  but  two  of  them  (3395-6, 
III,  \  i,  2,  3),  which  consisted  onl\'  of  miscellaneous  beads, 
have  been  redistributed,  and  part  of  their  contents  added 
to  the  other  chains.  It  should  be  noted  that  e\en  those 
necklaces  which  have  the  most  coherent  look  contain  a  large 
proportion  of  miscellaneous  beads:  these  serve,  however,  to 
displa\-  the  probable  arrangement  of  those  elements  which 
really  belong  together. 

3386,  long,  slightl\-  spindle-shaped  beads  of  banded  agate  and 
chalcedony,  with  granulated  gold  mounts.     This  t\pe  of  bead 

is  at  least  as  earl\-  as  thexxv  D\nast\-,  for  it  is  characteristic 
of  Nubian  necklaces  of  Tirhakah's  time;  but  in  Cxprus  it  ma\' 
have  persisted  later.  Part  of  Hi,  vi,  2. 

3387,  spherical  beads  of  cr\stal  and  ribbed  gold  with  crystal 
vase-pendant.  Ill,l.\x\,  7. 

3388  (a),  beads,  terminals,  and  pendants  of  granulated 
gold,  (b)  gold  beads  showing  the  transition  from  granulation 
to  filigree,  (c)  other  pendants  and  beads  of  sard  and  carnelian. 

Part  of  111,  \i,  3. 

3389  ribbed  gold  beads,  sard  beads,  and  pendant.      Ill,  \ii,  2. 

3390,  double  chain  of  sard  and  ribbed  gold,  with  sexeral 
control-beads  of  gold,  and  a  bull's  head  pendant  of  gold- 
mounted  carnelian.  Ill,  \ii,  3. 

3391,  gold  beads  for  two  threads,  forming  a  rich  design  of 
alternate  double-lotos  flowers  and  pairs  of  circular  bosses  in 
high  relief.         Cxprus,  p.  312;  Perrot,  fig.  601.  Ill,  ix,  3. 

3392,  gold  beads,  for  twt)  threads,  of  square  cushion  form  with 
filigree  rosette,  characteristic  of  late  fifth-centur\-  tombs  at 
Amathus,  where  the\-  were  worn  alternating  with  similar 
beads  of  coloured  pastes.  Ill,  ix,  4. 

390 


HELLENIC    STYLES 

3393,  small  gold  beads;  the  palmetto  pendants  in  gold  plate, 
two  engraved,  two  filigree,  are  from  the    necklace.      Ill,  vi,  3. 

3394-5,  gold  "spear-points"  developing  into  \ase-forms,  a  fav- 
ourite design  in  the  late  fifth  and  fourth  centuries.  Ill,  x,  3,  4. 

3396, ribbed  gold  beads, with  \ases, spear-points, and  pomegran- 
ate pendants.  C\prus,    PI.   xxiv.  Ill,v,  7. 

3397)  spherical  gold  beads,  with  acorn-pendants  ant!  .Medusa 
head.     C\prus,  PI.  xxii;  Perrot,  fig.  576  B.  Ill,  iii,  8. 

3398,  ribbed  gold  beads  in  three  rows,  controlled  b\-  an  oblong 
plaque  with  beaded  border  and  four  palmette  pendants:  the 
agate  now  set  in  the  centre  is  probablx'  not  original.  (^\prus, 

p.  312;     Perrot,  fig.  600.  Ill,  \iii,  2. 

3399-3400,  miscellaneous  gold  beads,  plain,  ribbed,  and  double- 
cone.  Ill,  \iii,  I. 

3401-352 1.     .Anlmal-hhadeiD   E.\rrin(>s,   consisting  of  a  circlet  of 
gold   wire,   plain  (jr  twisted,   which   tapers   from   an   animal's 


Table 
Ca  se 


^^-^^.s^"    ■ 


3401 


J  40  3 


heail  at  the  front  end  ('often  ennchetl  wilh  a  broad  filigree 
collar)  to  a  ho(jked  pcjint  which  passes  through  a  loop  below 
the  animal's  ihroai.  The  heads  most  commonlv  represent 
lions,  bulls,  or  goats;  3477-8  ha\e  a  pair  of  bulls'  heads  side 
b\'  side;  but  there  are  also  dolphins  M4<»i-lK  human  heails 
('3515-18),  or  complete  human  figures  (^100-^^14):  '1h'  last 
two  t\pes  face  outw,irtls,  with  the  loop  of  1  he  cat  Ji  at  the  back, 
not  at  the  creature's  throat. 

These  graceful  earrin,L!;s  make  their  first  ap[H-araiice  in  Itah' 
in  the  late  sixth  centur\-,  in  a  hea\ier  t  rumpet-slia[ieil  form, 
which  was  refined  in  Cnwc  in  t  he  lat  ter  part  of  1  he  lilt  h  cent  ur\-, 
and  reached  Ca  [irus  earh  in  the  fourth.  1  hrr  lhe\  coiif  iinied  in 
common  use  imtil  Ktjman  times  with  Inil  lit  lie  Jiaii^i^e:  lor 
con\'enience,  tlierefore,  the  whok-  series  is  deseribed  together, 
irrespecti\e  of  date,  at  the  point  uliere  it  first  amies   into  use. 


Ill 


iHi:  c;oLi.i-,(;i  ION   oi-   c,o\a)  and  sii.vlr  ()RNami;nts 

'  '!'"'''■'  Ihc  carlirsl  examples  are  those  in  whieh  ihe  eirelel  is  of  twisted 

gold,  gratluallx'  recluceci  in  ihiekness  from  head  to  point,  and 
Joined  to  the  head  h\'  a  filigree  collar,  which  often  encloses  a 
spherical  head  of  gold:  lhe\-  are  usuall\-  lion-headed,  (joats' 
heads  appear  next:  the  human  figures  seem  to  belong  to  the 
late  fourth  cent ur\- and  to  the  third,  l-'arrings  with  a  red  car- 
nelian  bead  immediate!}'  behind  the  head  may  be  as  early  as 
the  fourth  centur\-,  and  small  garnets  are  set  in  the  e\-es  of  the 
animal  in  the  third;  but  those  in  which  the  circlet  is  of  plain 
wire  strung  with  one,  two  or  three  beads  of  carnelian  (3407-8), 
ber\l,  and  garnet  (3401-2;  3515-6),  or  glass  paste,  blue  or 
green  (3403-4,  3477-8),  are  usuall}'  late;  }et  3405-6,  which 
ha\e  such  beads  imitated  in  gold,  are  in  other  respects  of  good 
and  earl\'  st\ie.  The  blundered  copies  in  soft  gold-foil  (35 10-21) 
are  certainl\-  late,  and  probably-  funerarx':  the  rest  are,  no 
doubt,  real  earrings  worn  in  dail)'  life.  (^\prus,  p.  310 
fgoat).  Ill,    xiii,    xiv,    xv    (throughout),    xx,     11,     12. 

3522-3.  Gold  Pins  with  plain  pomegranate  head:  the  plain  solid 
workmanship  suggests  a  date  within  the  fifth  century  at 
latest.  Ill,  iii,  4-5. 


^ 


5522 

lame    35-24-5  ■•      Frontlhts   of  gold   leaf,   either   broad   and   rectangular 

Cmc  (3524-32)   or  widened    in    the   centre   to   a  peak  on  one  side 

'^'  (3533-7).  "r  •*"   both  (3540);  or  long  and  narrow.     Some  are 

embossed   with    outlined    lea\es    (3533)    or    palmettes    (3535, 

3537-'^.  3543.  354^'.  3549)-  ''1.  x"'.  '-8. 

3552-^     (joli)   I)RAC(-.i.i:is  OF    Ki\(,   Eti-.andros,   of  solid    gold, 

(jiiite  plain,   circular  in  section,  with  plain  overlapping  ends. 

On   the  inner  surface  is  the  name  of  the  owner  in  C\'priote 

script: 

T  V/   X  X-,  X  ,     A    t    >^  X   ^^   ''>    V  \^ 

b.-le-a-do-ro:  to:  p;i-po:  ba-si-le-o-se 

lireduEpov  tov  \\dcf)Ou  /SaaiXeo)^ 

Of  I'Aeandros,  the  king  of  Paplios. 

392 


llt-LLLNU;    STYI,i;s 


3  5  3') 


The  date  of  this  liteandros  is  uncertain,  but  similar  bracelets 
are  worn  b\'  life-size  statues  like  1356  in  the  Archaic  C\priote 
st_\le,  of  the  sixth  and  earh'  fifth  centuries.  The  objects 
actuall)'  exhibited  are  electrot_\'pe  copies.  (Aprus,  p.  306; 

Perrcjt,  fig.  217;  Deecke,  46,  47.  Ill,  i,  1. 

3554-5.  C'jold  BR.ACHi.his,  like  3552-3,  but  smaller:  solid  and 
c]uite  plain.  Ill,  ii,  4. 

3556-O3.  Bracelets  of  GoLD-PLATr:D  Bronze;:  the  ends  do  not 
overlap  and  lie  in  the  same  plane.  The  ends  of  3  5()2-3  have 
a  simple  beaded  ornament :  those 
of  355S-61  arc  inserted,  b\-  a 
filigree  collar,  into  lion-heads  of 
embossed  gold.  This  lion-headed 
t\'pe  is  introduced  from  Assyria 
earl}'  in  the  period  of  Oriental 
influences:  compare  thedetached 
earl\-  lion-head  333  i ;  but  these 
examples  are  apparently  of  late 
fifth-centur_\'  st\ie,  for  they 
show  the  same  imitation  of 
granulated  work  as  the  sphinx-pendant  3^<S2,  and  ha\e  fili- 
gree collars.  The  heads  of  3S56-7  are  missing,  but  were 
pr()babl\-    similar,      (^xprus,  p.  3  1  1  ;  Perrot,  fig.   5()()  i'3S5<'^-<))- 

1 1 1,  i,  2,  3,    ii,  I,  2. 

35()4-(S7.  Silver  Braci.lets  of  inassi\e  design  are  common  in  the 
richer  tombs  of  the  sixth,  fifth,  and  fourth  centuries,  parli- 
cularl\'  at  .Amathus  and  (airiuni.  I'lieir  design  \aries  but 
slightlw  The  ends  usualh'  o\erlap,  and  ;ire  sometimes  j^ro- 
longed  spiralK'  lor  two  or  more  whole  turns  I  >,^()^).  Others. 
usuall\-  of  the  end  of  the  fifth  ctMiturx',  ha\e  the  eiuls  open 
and  facing  each  other  in  the  same  jtlane  (like  -sss^'-'M).  v\ith 
anim;il-heads  of  embossed  silxer  pkiti':  ]'-,(>><-()  lia\e  tlu'  heails 
of  lions;  ^,1711-1  goiits  or  bulls.  Occ;isi(  >n;ill\'  lluse  termin:ds 
are  of  gold  I  :i,-^()^--^]  or  gold-pkited  bron/e.  On  the  other 
hand,  the  snakes'  heads  of  ^s72-'~^2  are  Wiought  in  the  solid 
ends  of  the  bracelet,  with  engra\-ed  details:  tlie\-  belong  lo 
thi'  lati'  lifth  centur\.  Some  of  these  (^^70-^1)  :iri-  m:ide  to 
(jpen  \sith  a  hinge.  Other  bracelets  ha\e  their  circuit  ribbed 
tr:ms\  ersel\-  (•55^5)  or  leiigl  liw  :i\  s  >',tSs-()1.  I  he  Jii-^lerol 
Ml\cr  bracelets  rusted  logellu'r  ( ','-,X2]  shows  m  wli.il  pio- 
tusion  t  he\-  were  worn.  ilk  ^k   i~  1  ;. 


I  able 
Case 


')')'> 


I  ,UMc 
Case 


Till-;  i:(M.i.ia;tion  oi  gold  and  silver  ornamums 

^sNS.  SiL\iK  I'lN,  with  siilu-riL-al  head;  this  and  the  other  objects 
:;:;S()-c)7  ^eloHg  lo  t lio  Same  periled  as  the  bracelets  3564-87, 
and  illuslrale  the  profuse  use  of  siher  in  the  kite  sixth  and 
fifth  centuries.  Ill,  xxxix,  14. 

3580-00.  SiLvr.K  Disc-1-'arrinc.s,  shaped  like  a  spool  or  pullev- 
wheel,  and  apparentlx'  intended  to  fill  a  \er\-  large  hole  in  the 
ear:  the\-  show  traces  of  gilding.  Thex'  probabl\-  are  a  \ariet\- 
of  the  same  rare  tiflh-century  type  as  the  gold  earring  33<'^i- 

3501-7-  SiLXHR  Bf-;ads  of  double-cone 
form.  The  design  is  an  earl\ 
tMie,  hut  these  examples  are  prob- 
abl\-  ncn  earlier  tlian  the  fifth 
cenlurw  111,  xxxix,  7-0. 

3508-3()oo.  Crystal  Scf-.xT-BoTi- 
Lhs.  The  forms  of  the  bottles  are 
dexeloped  from  that  of  the  Eg\p- 
tian  alabaster  \ases,  1601  ff., 
hut  ha\e  been  simplified  to  suit 
their  refractor}'  material.  3  50^ 
is  nearest  to  the  alabaster  shapes; 
it  retains  its  gold-mounted  neck 
and  a  gold  co\er  attached  b\'  a 
chain:  the  combination  of  granu,- 
lation  with  coarse  filigree  work 
suggests  a  date  in  the  sixth  or  \'er\' 
earl\'  fifth  centurw  C_\'prus,  p. 
325 ;  Perrot,  fig.  5()2. 

Ill,  Ixxv,  4. 

3  500  has  an  angular  outline,  anc 
neck;  3600  is  pearshaped. 


359« 

nearl}'  cxlindrical  bod_\-  and 
111,  Ixxv,  I,  2. 


V.       ORNAMENTS    OF    HELLENISTIC    STYLE    FRO.M     IHE 
FOURTH    CENTURY    ONWARDS 

Before  the  end  of  the  fifth  centurx',  all  traces  of  Orientalism  dis- 
appear. The  Hellenic  polic}'  of  the  kings  of  Salamis  prolonged 
the  pure  st\  le  far  into  the  fourth  centurx  ;  and  as  long  as  the  island 
remained  independent  and  prosperous,  there  was  clearlx'  an  acti\e 
market  for  fine  work.  It  is  not  necessarw  indeed,  to  suppose  that 
all  the  best  work  was  made  in  the  island  itself,  and  the  identitx' 


394 


HELLENISTIC    STYLE 

of  the  st\ie  with  other  Greek  work  of  the  time  suggests  that  much    '  ^^bie 
■  ,    ,  Case 

was  miported.  j^. 

During  the  fourth  centurx'  the  old  t\pes  of  earrings,  beads,  and 

pendants  rapidl\'  gi\e  pkice  to  new  ones,  which  persist  with  ver\' 

little  change  throughout    the   Hellenistic   centuries.      The  earring 

either 

(a)  loses  tinall\'  its  primiti\e  form,  and  becomes  a  simple  pen- 
dant, suspended  from  the  ear  b>'  a  long  hook  or  wire,  the 
successor  of  the  plug-and-socket  of  the  fifth-centur\'  tiiscs 
(3381,  3589-90);  or 

(b)  becomes  a  simple  hoop  of  wire  with  hook-and-e\"e  fastening 
imperfectly  concealed  behind  a  ball,  disc,  or  rosette  which  re- 
places the  animal's  head  of  the  earliest  examples  ("3401  ff.  above) 
and  forms  the  principal  design,  though  pendants  are  often 
strung  on  the  lower  part  of  the  loop.  This  "loop"-t\pe  is 
common  in  the  fourth  and  third  centuries,  and  ne\-er  wholl\- 
disappears. 

Granulation  disappears  or  at  best  is  imitated  rarel\'  by  notched 
wire  (361 5-());  and  filigree  work,  after  a  brief  and  brilliant  climax 
in  the  late  fourth  centur\-,  when  floral  and  spiral  designs  are  ren- 
dered with  success,  becomes  rare  and  degenerate.  Kopelike 
chains  composed  of  minute  links  and  secured  b\-  ornate  hook-and- 
e\e  clasps  replace  the  old  necklaces  of  beads;  and  the  few  pendants 
which  remain  in  use  slide  loosel\-  upon  these  chains,  instead  of 
forming  an  integral  part  of  the  design.  Bracelets  are  rare  and  are 
sometimes  of  bronze,  and  the  finger-rings  lose  their  grace  and 
\ariet\',  in  proportion  as  the  use  of  large  engraved  or  merel\'  "pre- 
cious" stones  transforms  the  ring  from  a  work  of  art  to  a  mere 
mount  or  setting. 

3601-2.  Harkincs  of  the  <jld  boat-shaped  l\pe,  reduced  now  to 
a  flat  hemispherical  disc,  (ornamented  with  small  knobs  round 
the  edge,  and  filigree  work  on  the  flat  surface,  but  still  sus- 
pendetl  b\-  an  open  loop  like  the  earlier  earrings  of  this  t\'pe. 
This  pair  ma\-  be  as  earl\'  as  the  end  oi  the  fiflh  centurw 
G\  [irus,  PI.  xx\i;  Perrot,  fig.  iyOc.  Ill,   \x,  20,  21. 

3''kj3-(/.  [-.ARRiNfis  or  Tur.  "  Hf)()K"-Tvri-,,  with  iTiliorate  designs 
which  show  little  change  from  the  fdurlli  cenlur\  !n  the  first. 
^(><)^-4  ha\e  a  granulated  rosette-shaped  bod\  ,  and  long  drop- 
pendant.  Perrot,  fig.  y-()  e. 

^()t)^-().  conca\e  dist,  richh'  decf)rated  uilh  rosettr  and  fojijge- 
spiral   in   filigree;   below   this,   a   female   head    is   hung   bv   fine 

3 'J  5 


mi:  coLLiiciKW  OF  GOLD  AND  sii.vi:r  ornamhnts 

I'^'^''-'  chains,  and  below  this  again  hangs  a  conical  pendant  of  modi- 

'  j^^.  tied  \ase-forni,  coxered  with  rich  filigree  schjIIs.     Other  chains 

suspend  rosettes  and  smaller  \ase-shaped  pendants.  This 
fine  pair  probabh'  belongs  lo  the  fourth  centurw  C\'prus, 
PI.  xx\-;  Perrot,  S76  d:  Hadaczek,  Der  Ohrschmuck  der 
Cjriechen  uulI  F.trusker,  fig.  '-,'■,.  Ill,  xx,  16,  17. 

3607.  Harrino  01  ".MiLBhRRv"  PATihKN,  Consisting  of  a  cluster 
of  prominent  bosses  with  filigree  margins,  in  imitation  of  the 
earl\-  "mulberrx"  pendants.  The  fastening  is  unusual,  the 
loop  being  hinged,  and  fastened  to  a  catch-loop  in  front  by  a 
transverse  sliding-bolt.     (Compare  the  earlier  earrings  3166-7. 

Ill,  xiii,  18. 
3608-22.  Earrinc;^  (j[  THh  "  Loov'-Ywh  with  hook-and-e\e 
fastening,  usuall\  concealed  by  various  ornaments.  3608-9, 
figure  of  Eros,  and  a  \ase  pendant.  On  the  suspension  wire 
are  strung  beads  of  rough  beryl,  a  sign  of  late  date.  Ill,  xx, 
11,12.  3610-14  ha\-e  the  ancient  de\ice  of  a  p>Tamid  of 
halls  like  3253-8,  more  elaborate  (3610-11)  or  plain  (3612-14). 
3615-16  ha\e  a  richly  beaded  loop,  and  a  fixed  pendant  like 
a  ball  in  a  noose  of  cord.  3617  has  a  pendant  acorn;  3618 
a  \ase;  36ic)-20  a  cr\'stal  bead  simply  strung  on  the  loop; 
3()2i-2  are  amethxst  beads,  perhaps  from  similar  earrings. 
'II.  xiii.  n.  14  (3610-11);  x\iii,  16,  17  (3619-20);  xx,  13,  14 
(5615-16). 
The  numerous  later  de\'elopments  of  this  "loop"-t\pe  are  all  des- 
cribee! together  in  the  Cjraeco-Roman  section  3701  t^". 
362-5-59.  BtAi:)S  AND  Phndants  of  \'arious  dates  and  forms; 
3625-50  are  of  gold:  3()23-33  \ases;  3^)23  exactl>'  like  the 
pendant  of  the  necklace  3()76;  the  rest,  of  fourth-century  pat- 
tern; 3634-40  minute  pomegranates;  3641  a  rose  bud,  but  the 
carnelian  bead  within  it  is  not  original;  3642  a  goat's  head  from 
an  earring,  set  with  a  carnelian  cut  to  imitate  a  sprig  of  coral, 
perhaps  not  original  ;  3()43-4,  a  gorgoneion  and  another  evil- 
eve  charm;  3()45-5o  flower-shaped  mounts  for  stone  beads. 

Ill,  i\',  10,  12,  13,  23,  24;  \i,  3  (3643-4). 

3()5i-9  are  of  Mher:  3651-4  oinochoaiof  a  sixth-century  form; 
3655  a.  b.  amphorae;  365()  a  toggle,  of  c]uite  uncertain  date; 
3657  a  spear-point  pendant,  gilded;  3658  a  female  head;  3659 
a  rosette  bead  with  gold  centre.  Ill,  xxxix,  i6-2f). 

>,()(m).      Ooi.i)  NicKi.ACh.  of  lourtold  plaited  gold  wire,  with  hook- 


360  ! 


3  53  5 


366)0 


^:.«i^r> 


ii^>^) 


383.. 


6 


39  lb 


3606 


m 


3753 


y)() 


nil-;    COLLliCTlON    OF-    GOLD-  AND    SILVER    ORNAMENTS 

I'able  and-c\L'  fastening  between   solid   terminals  ornamented  with 

•^'''  lions'  heads  and  filigree  work.     The  hook  and  eye  are  screened 

h\-  a  reef-knot  in  gold  wire  with  coiled  ends.      Fine  work  of 

the  earl\-  fourth  centurw         ('.>prus,  P\.  xxv;  Perrot,  fig.  587. 

III.v,  3. 
3()()i-7.  CiOLD  Plaolhs,  I^ol'ndf.ls,  and  ToMB-AloNtv  with 
representations  in  relief:  }()(m  two  goddesses;  3662  the  Graces; 
3663  magical  s\'mbols;  3604  defaced;  3665-7  blurred  impres- 
sions of  coins  in  gold  foil,  such  as  are  common  in  late  Greek 
tombs.  Ill,  iv,  2,  3. 

36()<S-7i.  CjOld  Coins  of  Salamis,  of  the  fourth  centur_\':  perhaps 
used  as  tomb  money,  but  more  probably  acquired  as  surface 
finds. 

3668-9.  Obv:  bearded  head  of  Herakles  in  lion-skin,  to  right. 
Rev:  goat's  head.  Weight  5.0  —  5.4  grains.  British  Mu- 
seum Coin  Catalogue  (Cyprus)  PI.  xi,  16. 

3670.  Obv:  head  of  Aphrodite  or  Astarte  to  left,  in  high 
Oriental  head-dress.  Rev:  head  of  .Athene  in  crested  helmet, 
to  left.     Weight  11  grs.     B.  .M.  Cat.  PI.  xi,  24. 

3671.  Obv:  head  of  Aphrodite  as  on  3670  with  the  letter  M 
behind.  Rew  helmeted  head  of  Athene.  Weight  14  grs.  B. 
M.  (^at.  PI.  xxiv.  24,  p.  cxiv.  This  is  the  rare  gold  piece  issued 
b\'  King  .Menelaos  after  312  B.  C. 

VI.    ORNAMENTS     OF     THl-     GRAECO-ROMAN     PERIOD 

Table  Transition  is  gradual  from  the  purel\'  Hellenic  work  of  the  fourth 
Case  centur\'  to  the  inferior  stxles  of  the  centuries  after  the  Roman 
occupation.  Bracelets  of  gold  and  silver  become  ver\'  rare,  and 
bronze  becomes  common  for  these  and  also  for  finger-rings.  It 
must  be  remembered,  howe\er,  that  after  the  fourth  centur\- 
C\prus  lost  much  of  its  importance  and  uealth,  and  also  that  the 
tomb-equipment  of  all  but  the  richest  families  became  \'ery  much 
simpler  e\er\\vhere. 

3672-82.  (]hain  Necklaces  altogether  supersede  the  old  strings 
of  beads  and  pendants;  and  there  is  one  class  of  \  cr\'  small 
chains  with  hook-and-e\'c  fastening,  which  seems  to  ha\e  been 
used  as  earrings,  to  judge  from  the  position  in  which  the\' 
are  found  in  the  tombs.  The  e\'e-terminal  of  3672  was  set 
with  a  small  sard,  engra\ed  with  a  fl\',  like  the  earring  3817, 
and  there  is  a  plain  pendant  disc.  Ill,  viii,  6. 

398 


GRAECO-  ROMAN    PERIOD 

3673  has  long,  narrow  bar-links  with  paste  beads.        Ill,  ix,  2.    Table 

Case 
3674hasopenworkrosettesaIternatewithpastebeads.     III,ix,  i.    v 

3675  has  flat  links  cut  out  of  gold  plate  and  a  plain  gold  orna- 
ment. Ill,  viii,  7. 

3676  is  of  multiple  curb-pattern,  with  degenerate  \ase-shaped 
pendant.  Ill,  v,  6. 

3677  has  polxhedral  beads  of  carnelian  alternate  with  short 
lengths  of  chain:  pendant  of  another  workmanship,  with  central 
onyx.  Ill,  vii,  i. 

3678-82  arc  chain-earrings,  with  conx'ex  disc  fastener:  3678-80 
are  of  open  links;  3681-2  of  curb  pattern.  Ill,  viii,  4,  5, 

3683.  Gold  Bracllht  of  twisted  wire  with  hook-and-e}e  fasten- 
ing. Ill,  ii,  3. 

3684.  Silver  Brachlht,  with  o\-erlapping  ends  sliding  in  guide- 
rings  for  adjustment.  These  sliding  bracelets  are  common 
in  bronze  in  late  tombs;  but  the  t\pe  does  not  seem  to  go  back 
be\ond  the  Graeco-Roman  period. 

3685.  SiLVHR  Hair  T^in  with  large  bead  of  glass  paste,  imitating 
onvx,  and  a  smaller  one  imitating  rock-cr\stal. 

3686.  SiLXHR  Hair  Pi\  with  flat  swordlike  blade,  and  Corinthian 
capital,  supporting  human  heads,  dolphins,  and  a  rich  linial. 

3687-3700.  PhNDANis  I  ROM  Lath  Earrinc^s  like  3701  fT.  3()87  has 
a  design  of  four  palmettes  embossed  in  thin  gokl  plate, 
with  a  filigree  flower  in  the  centre.  3()88  is  a  flower  in  thin 
gold;  3689,  a  glass  paste  scaraboid  in  o\al  mount  like  th;it 
of  the  rings  4172-7;  3690,  fourlobeti  paste  be;id  in  gold  mount; 
3691-5,  small  lentoid  pendants  in  gold;  3(></)-37oo,  pendants  on 
gold  wires,  of  bervl,  (^696;  sartl,  (^()()7)  paste,  (36()8)  and 
rough  late  imitations  of  the  I{g\i-)tian  e>e  charm,  in  rough 
beryl  (36()9-37oo). 

The  common  earrings  of  the  Hellenistic  and  (iraeco-Roman  periods 
cannot  as  yet  be  distinguished  vvitii  certainlx';  and  it  seems  prob- 
able that  all  the  principal  t\pes  had  a  long  range  in  time.  In 
default  of  precise  record,  tlie\'  are,  therefore,  all  classifii-d  here  by 
form  alone.  The  "liook"t\iie  (al,  ;ilre;id\  iKJted,  becomes  rare; 
but  the  "loop"  1  \  jie  (b)  persists  both  in  ils  uns\  niniel  rical  form 
with  hook-and-e\e  laslening  at  one  siile,  :ind  :ilso  in  a  s\  nmiet  rii  :il 
form,   wTich  has  the  lasteniiig  at   the  top,  so  that   the  loop  hangs 

399 


rm:  colliu/hon   oi    cold  and  sii.vi;r  ornamhnts 

Table   below   the  oar  like   the  earl\-   boat-shaped   earrings.      It  also  gives 
"'\^.    rise  to  a  "delta-shaped"  t\pe  [c]  b\-  prolonging  the  free  end  of  the 
hook-and-e\e  fastening  to  form  a  large  secondar\'  hook  which  alone 
passes  through  the  ear.      Kventuall\-  the  original  loop  of  the  ear- 
ring disappears  altogether,  and  the  secondary  hook  (d)  is  attached 
directl\'  to  the  back  of  the  jewel.      The  effect  is  to  re\i\e  the  long 
free  hook  of  the  t"ourth-centur\-  earring,  but  this  secondar\'  hook 
can   easih"   be  distinguished   b\'   its    ^-shape,  which  is  almost  in- 
variable.    That  these  new  types  e.xisted  side  by  side  is  shown  b\' 
the  occasional  occurrence  of  all  three  modes  of  construction  behind 
the  same  decorati\e  facade.      The  commonest  ornament  of  these 
late  earrings  is  still  the  plain  ball  or  con\e.\  disc  in  front  of  the  hook- 
and-e\e;  but   the  ball   is  often   \er\'  small,   and  attention   is  con- 
centrated on  a  pendant,  either  hung  below  the  ball  or  loosel_\-  strung 
on   the  loop,      fhe  commonest  pendants  consist  of  one  or  more 
beads  of  pearl,  ameth>st,  garnet,  ber\  1,  or  glass  paste,  threaded  on 
a   fine  wire:   carnelian   and   agate  become   rare.     Other  pendants 
consist  of  slight  gold  mounts,  containing  flat  glass  pastes,  or  cheap 
stones,  with  sect)ndar\'  pendants  of  pearls  or  coloured  beads. 
370i-3(S25.      Loop   E.\rrings  of  the  uns\mmetrical   t_\pe  alread>- 
noted.     .All  consist  of  a  plain  loop  with  disc  or  minute  ball 
(3701-21)    sometimes    omitted    (3732-39),    or    disc    and    ball 
pendant  (3740-05),  or  there  ma\'  be  \arious  pendants  without 
disc  (3766-86);  or  disc  or  pendant  ma\-   be  replaced  b\' other 
ornaments  of  gold  (3787-0)1):  or  settings  for  pearls   (3792-5) 
or  stones,  or  paste  (3792-3817).       The  setting  of  3817  contains 
a  sard  rudel\'  engra\ed  with  a  tlw  like  that  of  3672.     One 
striking  series  (3818-25,  III,  xxii,  30-42)  has  a  large  flat  flower 
cut  out  of  thin  gold    plate.     These  decorati\'e  variations  are 
common  to  this  and  the  earrings  of  other  construction  which 
follow.     Their  endless  \arieties  ofTer  little  artistic  or  archaeo- 
logical  interest:  the\-  pass  o\er,  on   the  one  hand,  insensibl\- 
into  the  s\mmetrical  t\pe  which  follows;  on  the  other  hand, 
into  the  delta-shaped  l>pe;  and  the  chronologx'  of  the  whole 
series  is  still  quite  obscure.     The  limiting  dates  appear  to  be 
from  the  second  centur\-  B.  C,  to  the  third  centur_\-  .\.  D. 
111.  x\iii.    jS,  21-2t:  xix,  33.   34;  xxi.  4,    12,  21-2,  24-5;  xxii. 
>-'•  ^'-7.  f)-i4.  17-20.  25-9,  30-42;  xxiii,  1-3,  8,  23. 
3826-58.     Loop  i{AKRiN(-,s  of  s\"mmetrical  t\pe,  \er\-  common  in 
tombs  of  Roman  Imperial  period,  in  which  the  hook-and-ex  e 
lastening  is  at  the  uppermost  point  of  the  loop,  and  the  lower 

400 


GRAHCO  -  ROMAN     PERIOD 

part   more  or  less  swollen   like  the  Earl\'  Iron  Age  earrings,    I^^ible 
or  else  hammered  out  fiat   (3853-6).     Some  of  these  earrings    ^. 
are  of  large  diameter  (3849-52:  III,  x\ii,  21,  22):  a  few  are  in 
silver    (3857-8).     This  t\'pe  eventuall\'  gi\es  rise  to  the  Hat 
crescent-shaped  earrings  3859  ff. 

3859-3909.  Crhschnt  Earrings  are  de\eloped  from  the  sym- 
metrical hoop-t\'pe  (382()  ff)  b\'  expanding  the  bod\'  into  a 
flat  crescent-shaped  plate.  This  is  usuallx'  plain  (3859-79), 
but  sometimes  decorated  with  borders  of  plain  or  twisted  wire 
(3880-92),  or  minute  balls  like  the  carl\-  "granular"  work 
(3893-97),  or  with  filigree  designs,  or  cloisons  for  enamel  or 
paste  gems  (3898-3905),  or  with  a  fringe  of  beads  attached  by 
wire  loops  3906-9. 
III,xix,   1-12,   14-16;  xxi,  1-16  (not   i3);xxii,  8,  15,  16,21,22. 

3910-11.  CRHsctNT-SHAPhD  Earrings  of  Bxzantine  st\le,  in 
which  the  crescent  plate  is  nearl\'  semicircular  in  outline; 
it  is  distinct  from  the  rest  of  the  suspension  loop,  and  is  thick 
enough  to  be  decorated  with  foliage  in  low  relief,  or  even  in 
some  examples  cut  right  through  the  plate.  Ill,  xix,  13. 

3912-3945.  Di-.LTA-snAi'HD  Earrings  ha\e  the  free  end  of  the 
hook-and-e\e  fastening  prolonged  be\ond  the  e\e  into  a  long 
free  hook  like  a  (ireek  delta  (8)  or  a  slip-knot.  Thex'  show  the 
same  \arietv  of  ornament  as  the  preceding  t_\pes:  conmion- 
est  is  the  con\ex  disc  or  ball,  in  front  of  the  fastening  (3912-7). 
This  t\pe  is  f(;und  rarel}'  in  siher  (3918-9)  as  well  as  in  gold. 
Another  characteristic  ornament  consists  of  three  siher  beads 
strung  in  a  triangle  close  below  the  fastening  (3927-34).  Often 
one  or  more  beads,  of  \arious  materials  and  colours,  are  strung 
in  the  loop  ('3935-45).  .Man\-  of  the  earrings  haw  lost  iheir 
beads.  The  fine  agate  beads  of  3935-!^  were  \er\  likel\"  an- 
cient alread}'  when  the\"  were  reset  on  their  present  wires, 
since  agate  had  almost  passed  out  of  use  for  beads  in  the  later 
Roman  times,  anti  these  beads  are  of  a  form  which  is  common 
in  Ciraeco-Phoenician  necklaces.       III.  xxii,  2^.  24;  xxiii,  9-21. 

}()46-4022.  lIooK  I^ARKiNGS  resull  when  tlie  original  conception 
of  an  earring  as  a  ring  for  the  ear  is  \\holl\'  forgotten,  and 
decorative  jewels,  of  the  same  kinds  as  in  the  'loop'  earrings, 
are  simplv  suspended  in  the  ear  hv  an  ,S-shapecl  IiooIkuI  lliin 
wire,  soklered  behind  them  III,  x\iii,  i<).  20;  \i\,  25-7, 
29-31;  XX,  I'S;  xxi,  1-3,  13-20,  23;  xxii,  4,  5,  5^  50;  xxiii,  s-7- 
401 


THH    COLLHCTION    OH    GOLD    AND    Sll.VHR    OKNAMHNTS 

l-;i'''i-'  (Iharactoristic  of  tlic  latest    Roman   tombs   (fourtli  and   filth 

'  ^^,  centuries)    are    large   eon\ex  discs  of  plain  thin  foil,  circular 

or   oval  (4000-22).  Ill,    XX,    i-io,    K),  22,    xxiii,    24-6 

4023-37.  C"iLASS-Pi;\n.ANT  Harrin'c.s  consist  of  a  single  wire  loop, 
of  \ar\ing  form,  carrying  a  perforated  pendant  of  glass,  mod- 
elled or  impressed  in  \'arious  designs;  bird  (4023),  dolphin 
(4024-s),  bottle  (4026),  club  (4027),  human  heads  (4028-33), 
or  flat  discs  of  amber  glass  impressed  with  lions  (4034-6). 
Note  the  stone  cross  of  4037.  The  grotesquely  modelled  heads 
in  many-coloured  glass  (4028-9)  may  be  ancient,  since  similar 
objects  are  found  in  necklaces  of  the  Earl\'  Iron  .\ge.  This 
type  of  earring,  however,  does  not  appear  before  theGraeco- 
Roman  Age.  III,x\iii,  1-15. 

4038-40.  PhNDANTs  AND  Bhads  OF  Glass  from  similar  earrings: 
probabl\'  all  of  late  date,  though  4046  ma\'  be  of  earlier  work- 
manship: 4038  is  a  large  grotesque  head  in  opaque  \ellow  on 
dark  ground,  like  4028-Q;  4039-41  represent  small  jugs  in  dark 
glass  with  white  spiral  line  like  the  late  glass  vases  5737-44; 
4042-3  are  ball  pendants  of  dark  glass  with  spots  of  se\eral 
opaque  colours  to  imitate  "millefiori"  glass;  4044-5  are  similar 
rough  glass  pendants;  4046  repeats  nearl\'  the  same  form  in 
a  harder  glass  paste,  or  crv'stalline  rock;  4047-9  are  rough 
beads  from  earrings  or  necklaces. 

4050  a-t.  Pi;ndants  of  Gilded  (2lay  from  late  earrings  or  neck- 
laces. This  is  probably  tomb-jewelry,  not  intended  for 
actual  wear. 


402 


TH1-;  COLLHCriON  OF 
FIXGHR-RINGS 


THE  COLLHCnON  OF  FINGER-RINGS 

ALL  the  finger-rings  and  engraved  stones  in  the  Collection 
are  separated  from  the  other  ornaments,  and  grouped 
together  for  convenience  of  comparison.  The  rings  fall 
into  two  main  classes:  Ca)  those  of  which  the  goldsmith's 
design  is  a  complete  and  independent  work  of  art,  or  is  enhanced 
only  b\'  enamels  or  b\-  unengra\ed  stones,  employed  solel\-  as 
coloured  accessories  to  the  goldwork;  and  (b)  those  which  serve 
primaril}'  as  settings  for  stones,  either  engra\ed  or  merely 
"precious".  Here  the  design  of  the  ring  is  subordinate,  and  seldom 
of  artistic  \alue.  Both  classes  begin  in  the  Late  Bronze  Age,  and 
go  on  side  b\'  side  into  modern  times.  But  rings  with  engraxed 
seal-stones  are  \er\-  rare  in  C)'prus  before  the  period  of  Oriental 
inlluences,  the  seals  of  earlier  dale  (4^00  If.)  ha\ing  been  worn  not 
in  rings,  but  as  beads  or  pendants. 

As  the  de\elopment  of  st\ie  in  each  of  these  classes  usuallx'  pro- 
ceeds on  different  lines,  it  can  be  best  illustrated  b\'  describing  the 
whole  of  each  class  consecuti\el\',  without  more  than  occasional 
reference  to  the  contemporarx'  forms  in  the  other.  The  arrange- 
ment of  the  Collection,  therefore,  is  as  follows.  I  irst  (40s  1  If.) 
all  the  rings  of  gokl  or  sih'er  which  are  without  seal-clones  are 
classified  in  the  order  of  their  sl\les,  and  wilh  them  a  few  rings 
(4070-S)  which  contain  enamel  or  unengra\t'd  stones  as  coloured 
accessories.  This  class  includes,  howe\er.  all  those  (401^-^1^) 
which  ha\'e  a  srjl-design  engraxed  in  the  gold  or  silxer  of  the 
ring  itself,  liecaust'  their  main  inhTi'Sl  is  as  examples  ot  mekil- 
work;  but  it  is  instructixt-  to  com[iare  these  designs  w  n  h  tliose  on 
engra\(xl  stones  of  the  same  period  ;ind  st\le.  Sihfr  ,ind  br<in/e 
rings  follow  the  g(jkl  rings  of  simikir  sl\le,  I  hen  come  ;ill  the 
signet-rings  \xith  engraxed  stones  (41^0  If.)  ;ind  rin,us  o|  s^nei- 
fashion   ex'eii   when   the  stone  is  uneni'rjx  ed,   ckissided   likewise  m 


403 


I  in-:   coi.Luci  ION  oi    mnghr-rings 

I  ho  order  of  I  heir  sl\le;  and  with  thciii  all  engra\od  stones  (except 
c\  linders  and  steatite  scarabs)  which  have  become  separated  from 
their  rings.  The  mounted  and  dismounted  stones  of  the  same  period 
can  thus  be  readilx'  compared. 

A.       FINGER-RINGS  OF  GOLDSMITHS'  WORK 
Rings  of  Egyptian  or  other  foreign  workmanship  are  \ery  rare  in 
C\prus,  and  the  onl\'  e.xampie  in  this  Collection  is  of  quite  un- 
certain date. 

4051.  F.c.vpTiAN  (joi.D  Ring,  hea\'y  and  thickened  in  front  to 
form  a  solid  bezel,  the  flat  surface  of  which  is  sunk,  and  con- 
tains in  reh'ef  an  Eg\ptian  solar  disc  in  its  sacred  boat  with 
high  pro\\-  and  stern.  The  form  is  one  which  begins  during 
the  Eighteenth  D\nast\',  but  nex'cr  goes  wholly  out  of  use 
afterwards.  1  IE  xxv,  i, 

.M\cenaean  rings  are  rare  in  C\'prus,  and  repeat  forms  character- 
istic of  .Mxcenaean  Greece,  with  slender  hoop  and  large  oval  bezel 
often  set  transversel\'  on  it.  On  the  bezel,  which  is  generally 
a  little  con\'ex,  there  is  usuall\"  engra\'ed  an  elaborate  pictorial 
design,  in  the  same  st_\ie  as  the  M\'cenaean  lentoid  seal-stones; 
or  its  face  is  filled  with  enamel, which  is  sometimes  continued  round 
the  hoop. 

The  lentoid  seal-stones  of  the  Eate  Alinoan  Age  were  usually 
carried  on  a  thread;  when  the\'  are  set  in  a  ring,  it  is  a  light  hoop 
with  open  ends  secured  b\'  a  wire  like  4141,  4146-7  ff.  below. 

4052.  Gold  Rint,,  for.\ii;rlv  Ena.mellhd,  of  thin  gold,  conca\'e 
externall\',  with  o\-al  bezel  slightl\'  hollowed  to  hold  the  enamel, 
which  tilled  also  the  outer  surface  of  the  hoop,  but  is  now  al- 
most all  deca\'ed. 

4053.  Gold  Ring  with  hoop  slightl\-  swollen  in  front,  and  not  flat- 
tened at  all.     'Ehis  t\-pe  begins  earl\-,   but  is  found  also  later. 

In  the  Earl\-  Iron  .Age,  jewelr>'  of  all  kinds  is  rare;  but  the  next 
ring  ma\'  belong  to  the  Geometrical  Period. 

4054.  Gold  Ring  in  rather  red  gold,  like  the  earl\-  earrings 
3150-74.  of  rough  workmanship,  flattened  and  expanded  in 
front,  and  engraxed  with  fine  zigzag  linos. 

In  the  Period  of  Oriental  Influences,  gold  rings  are  still  uncommon; 
most  of  the  rings  of  this  period  being  signet-rings  with  swi\el- 
mounted  stones.  There  is,  however,  one  tine  series  of  rings  both 
of  g.t)ld  and  (jf  siher,  with  engrax'ing  in  the  metal.      It  begins  in 

406 


(".Ol.DSMnnS      WORK 

the  sixth  ccntur\'  and  is  continued  into  the  fifth;  but  then  gives 
place  to  rings  of  elaborate  goldsmiths'  work,  designed  to  harmonize 
with  the  rich  earrings  and  necklaces  of  that  time. 

4055-62.  Gold  Rings  with  Enc.r.wf.d  Dh\t(:i:s.  The  narrow 
hoop  is  of  uniform  thickness  and  is  either  furnished  with 
a  separate  plate,  usuall\'  oblong  with  rounded  angles;  or  else 
is  hammered  out  for  about  one  third  of  the  circumference  to 
a  flat  lozenge-shaped  surface.  Both  txjH's  are  closeK'  copied 
from  Egyptian  rings  of  the  XXV'I  Dynastw  The  flat  bezel 
is  repeated  in  the  rings  from  Phoenician  tombs  at  I'harros 
in  Sardinia,  which  are  assigned  to  the  sexenth  and  si.xth  cen- 
turies, and  the  hammered  t\pe  in  contemporar}'  rings  from 
Itah'  and  Sicilw  The  bezel  is  either  engra\ed,  or  carved  in 
low  relief.  The  earliest  engra\ing  is  in  the  .Mixed  Oriental 
style,  representing  the  earl\-  sixth  centur\',  and  perhaps  going 
back  into  the  sex'enth,  and  the  latest  in  the  .\rchaic  C\priote, 
or  the  beginning  of  the  .Mature  st\ie.  The  designs  consist 
usually  of  a  single  figure,  or  at  most  a  pair  of  hgures  facing 
each  other.  The  bezel  of  4056  is  duplicated. 
The  majority  arc  in  intaglio  and  are  intended  to  be  used 
lor  sealing,  but  4061-2  are  in  relief,  and  would  be  almost 
useless  as  seals. 


DF-.SIGN   IN    INIAGLIO 

4f)55,  engrawd  with  two  winged  figures,  meeting  and  holding 
a  wreath;  in  the  background  an  Hg\ptian  ankli-s\nibol. 
Oriental   st\ie.         Cx'prus,  PI.  xxx\i,  5.  Ill,  xxx,  7. 

4056  has  a  double  bezel,  engraved  in  the  upper  half  with  a 
pair  of  lions,  and  in  the  lower  with  a  pair  of  sphinxes,  .\rchaic 
(^\priote  stx'le.  (ixprus,  PI.  xxxi\-,  2.  Ill,  xxx,  i. 

4057,  engra\'ed  with  llerakles  in  combat  with  a  lion,  within 
a     cable    border.     .Archaic    (Cypriote    sl\le.  Cyprus,     PI. 

xxxi\-,  3.  Ill,  xxx,  i<i. 

405.S,  engraxed  with  a  man  and  a  woman  conversing:  hue 
Archaic  (^v'jiriote  st\le  of  the  earl\'  (iftli  cenUirw  (Ixpriis, 
PI.  xxxiw  4. 

4050  has  the  be/el  oblong  and  dcepl\-  noUlied;  eiigr.i\ed  Willi 
a  jKilmetle  between  a  pair  of  Ih  ing  I  larpies  u  iiich  liold  w  real  lis. 
I  he  hoop  riids  in  volutes.  .Malure  s|  \  Ir.  of  1  hr  Lilcr  liflli 
or  earh'  fourlh  cenlurw  (^vprus,  PI.  xxi\,   1. 

407 


IHH    COLLHCTION    OF    FINGHR-RINGS 

40()0,  engra\cd  with  a  palmette  design:  poor  work  of  decadent 
C\priote  st\Ie,  probably  of  the  fourth  century.         1 1 1,  xxx,  20. 

IIHSIGN   IN    UEI.Il-K 

4o()i  bears  a  seated  sphinx  in  relief.     Archaic  C\priote  style. 
Clyprus,  PI.  xxxi\',  5. 

4o()2,  palmette  design  in  relief:  probabl}'  of  the  fifth  or  late 
sixth  centurw  111,  xxx,  21. 

4063.  SiLVKR  RiNC.  with  distinct  bezel  of  the  same  t\pe  as  4055; 
the  engra\ing  is  corroded.  Ill,  xlii,  21. 

The  engraved  gold  rings  of  the  fifth  centur\',  which  are  among  the 
finest  products  of  Greek  miniature  art,  are  not  represented  here, 
and  do  not  seem  to  ha\e  been  recorded  as  \et  from  C\prus.  L'n- 
engra\ed  rings  of  this  t\pe  are  recorded,  however,  though  the>- 
need  not  be  all  as  earl\'  as  the  fifth  century. 

4064-5-6.  Plain  Gold  Rings  with  a  slender  hoop,  four-  or  five- 
sided  in  section,  thickening  in  front  to  a  circular  or  oval  bezel 
which  is  sol  id,  wide,  and  usually  slightly  convex.    Ill,  xxiv,  25,27. 

4067-9.  Plain  Silvlr  Rings  of  similar  t\pes:  too  much  corroded 
to  show  whether  the\'  were  engraved  or  not.  Ill,  xlii,  22,  23. 
In  the  late  fifth  and  fourth  centuries,  the  most  popular  rings  are 
adorned  with  one  or  more  brightly  coloured  stones  in  band-  or  box- 
settings,  decorated  with  filigree  work.  Though  of  swi\el  design, 
these  settings  are  often  fixed  in  the  hoop,  which  has  mouldings 
or  filigree  work  all  round,  and  ma\'  end  in  \()lutes  (4071),  lotos 
flowers  (4072),  palmettes,  or  animals'  heads,  or  whole  figures 
(4074)  like  those  of  the  contemporary  earrings  (3500-14).  The 
whole  hoop  is  often  of  rope  pattern  or  richl\'  moulded  (4073,  4076). 
This  group  seems  to  develop  out  of  an  earlier  type  of  Egyptian 
origin  in  which  the  colours  were  supplied  b\-  enamel  or  glass-inla>': 
but  no  direct  connection  can  be  traced  with  the  enamelled  rings  of 
.M\'cenaean  st\-le- 

4070.  Gjold  Ring  with  plain  sard  in  a  fixed  box-setting  with 
filigree  and  granulated  ornament;  on  the  under  side  of  the 
setting  a  standing  figure  is  embossed  as  if  to  imitate  an  engra\'ed 
stone:  fragmentary'. 

4071.  Gold  Cloisonne  Ring  with  three  box-settings  abreast  be- 
tween Cypriote  \oIute  capitals  which  terminate  the  hoop:  the 
filling  has  perished.     I^r(jbabl\-  of  the  earl\-  sixth  centurw 

408 


GOLDSMITHS      WORK 

4072.  Gold  Cl(jis()nnh  Ring  with  three  box-setlings  abreuil 
between  angular  lotos  flowers;  at  the  back  of  the  hoop  is  a 
winged  disc;  the  filling  has  perished.  The  workmanship 
resembles  Egyptian;  the  box-settings,  though  fixed,  ha\e 
swivel-sockets  like  those  of  the  signet-rings;  the\-  contain  a 
blue  paste,  and  a  sard;  the  third  stone  is  missing.  ProbabK' 
of  the  sixth  cenlurw 

4073.  CioLD  I'lLioRt^b  RiNC.  with  three  b(jx-settings  in  series, 
containing  a  ber\l  between  two  garnets:  the  hoop  is  enriched 
WMth  filigree  work,  and  makes  a  reef-knot  behind.  Late  fourth 
centurw 

4(J74.  CJOLD  FiGLKi:  Ring,  with  a  large  o\al  ameth\st  in  rich 
filigree  box-setting  supported  b\-  a  pair  of  small  human  figures 
like  those  of  the  earrings  3500-14.  Not  earlier  than  the  third 
centurw         C\'prus,  p.  310. 

4075.  CjOi.t)  Ring  of  thin  foil,  probabl\'  for  tomb-use  onl\-;  it  has 
a  round  garnet  in  a  filigree  box-setting. 

4076.  Gold  I'iligrhh  Ring  with  h(X)p  of  plaited  pattern,  and 
round  bezel  filled  with  a  rich  rosette  of  filigree  vsork. 

4077.  (jOld  Plallf.d  Ring  of  hea\\'  fourfold  pattern.  Ill,  xxi\-,  1  1 . 

4078-83.     Gold    Spiral    Rings    of    the    fourth    ami    subst'Cjuent 

centuries:    the   most    elaborate,   4078,    has  prominent  snake's 

head  ends    (111,  xxi\-,   12);     407()  is  of  man\'  coils,  with  small 

heads;  4080  has  open  ends  with  snakes'  heads,  liki-  the  fifth 

and  fourth  centurv  bracelets;  4081-2  ha\e  simpl\  o\erlapping 

ends;  4083,  which  seems  to  be  of  earl\'  make,  has  con\  entional- 

ized  snakes'  heads,  joined  b\-  a  short  bar. 

In  the  Hellenistic  ant!  Graeco-Roman  centuries  most  of  the  more 

elaborate   Hellenic   forms   are  repealeii   with    little   change,   except 

that  .Alexander's  concjuests  ix-rmitteil  :i  wider  choice  of  coloured 

stones.      The  commonest    rings  are  those  of  thin  gold,   filletl  with 

base  metal  or  cement ,  and  set  wit  h  a  single  stime,  plain  or  engra\ed, 

4229   fT.    belou'.     ()tluT    popular     t\in's,    v\ithout     stones,   are    as 

follows: 

4084-6.  (jOLD  I-!ngka\i  I)  Ring.'-,  thicken^'il  a  little  in  front,  but 
without  distinct  be/d  :  <>n  40S4-S  i^  engr;i\ed  a  bird  in  a  co.irsc 
deep-cut  st\le:  Gxjirus,   I'l.  \li.    i(i;(iii  4(iS(i  a  hi[ip(>c;imp, 

1 1 1,  XXX.  (>.  II,  17. 

.1<H| 


IHli    COLLHCIION    Ol      FINGER-RINGS 

4087-95.  Gold  Engra\i:d  Rings  of  Graeco-Roman  date,  with 
representations  of  the  Paphian  Temple  and  the  sacred  stone 
within  it  (4087-8) ;  or  what  seems  to  be  an  outside  view,  showing 
a  column  or  mast  half-fallen  (4089-00),  C\-prus,  PI.  xli,  20;  or 
both  \iews  together,  on  a  double  bezel  (4091);  or  the  temple 
and  a  tree  (4092);  two  trees  (4093),  C\prus,  PI.  xli,  22;  tree 
and  wreath  (4094);  or  a  wreath  alone  (4095).  Ill,  xxx,  25, 
16,  (4089-90  not  figured),  5,  2,  3,  4,  22. 

4096-4109.  G(^LD  .Motto  Rings,  inscribed  in  rough  late  letters, 
dotted  or  incised  either  ir.'  ayaOco  "for  good  luck"  (4096- 
4102);  or  in  the  plural  iyaOoTc  (4103-7).  Ill,  xxx,  8, 
9,  13,  23,  19;  or  y'-J^^^"  (for  yJACZSjs)  "keep  guard"  (4108) 
or  other  words  illegible  through  wear  (4109).  Many  of  these 
rings  are  so  small  that  they  must  have  been  made  either  for 
children,  or  for  the  upper  joints  of  the  smaller  fingers;  a  custom 
which  is  attested  b}'  satirical  references  in  Roman  writers. 

4110-35.  Plain  Gold  Rings:  some  (4110-11)  of  the  same  form 
as  4109,  but  not  inscribed;  others  (4112-20)  with  a  low  keel 
on  the  hoop,  which  is  hammered  out  in  front  into  a  lozenge- 
shaped  facet. 

4121  has  a  solid  hoop  like  a  wedding  ring.     Ill,    xxiv,  4. 
4122-4130  are    more    pretentious    but    hollow   within;    413 1 
shows   two  and  4132-3   three   such    rings   together. 

4134-5  have  more  or  less  elaborate  mouldings  on  the  outside. 

B.       SIGNET-RINGS    WITH    ENGRAVED    STONES 

While  the  c\iinder-scals  of  Bab\ionia  and  all  Western  Asia  (4300 
ff.)  were  worn  at  all  periods  on  a  cord  about  the  wrist  of  the  owner, 
the  Egyptian  beetle-shaped  "scarab"  seals  were  commonl}'  worn 
on  the  finger,  and  from  the  XII  Dynastv  onwards  were  often 
strung  for  this  purpose  upon  a  slender  hoop  of  gold,  on  which  the 
scarab  could  be  rexohed  with  its  fiat  face  either  outwards  for 
sealing,  or  inwards  towards  the  finger  for  protection  and  conceal- 
ment when  not  in  use. 

\'er\-  rarely  the  lentoid  .Mxcenaean  seal-stones  (though  usuall}' 
worn  on  a  cord,  like  Babxlonian  cxlinders)  are  found  mounted  on 
a  wire,  stretched  between  the  open  ends  of  a  narrow  gold  ring,  and 
secured  by  being  twisted  round  them.  This  and  e\en  simpler 
t\'pes  of  signet-ring,  made  of  a  length  of  wire  twisted  onto  itself, 

410 


SIGNET-RINGS 

persist  in  C>-prus,  and  (less  commonlv)  in  other  parts  of  the  Med- 
iterranean, until  the  Period  of  Oriental  Influences,  when  the\-  are 
superseded  b}'  the  swivel-ring,  in  which  the  stone  itself,  or  its  metal 
setting,  revolves  between  pivots  on  the  open  ends  of  the  hoop. 
The  hoop  is  now  made  massive  in  the  middle,  to  prevent  it  from 
straining  apart  and  letting  fall  the  signet. 

4136-4147.  Early  Signet-Rings  of  Gold  Wire,  showing  various 
experimental  fastenings:  4136  has  the  ends  simpl\-  twisted 
on  each  other;  4138  is  a  spiral  coil  of  stout  wire  with  over- 
lapping ends  and  no  fastening  at  all;  4140  seems  to  be  made  of 
an  early  earring  like  3150-8.  Next  come  the  rings  of  Figxptian 
model,  with  open  ends  perforated  to  recei\e  the  suspension- 
wire,  which  is  either  coiled  round  them  4141,  4146-7,  or  ham- 
mered into  a  minute  knob  like  a  pin's  head  4143-5.  The 
earliest  stones,  some  of  which  are  of  steatite  and  other  soft 
stones,  are  perforated  and  simph'  threaded  on  the  wire.  Then, 
to  protect  the  edges  of  the  engraved  face,  a  band-setting  of 
Eg\'ptian  fashion  came  into  use;  and  it  was  not  long  before  the 
holes  in  its  ends  were  fortified  with  s\\i\el-sockets,  which 
turned  on  the  ends  of  the  hoop  as  on  pivots.  There  was  n(jw 
nothing  but  the  strength  of  the  hoop  to  pre\ent  the  ends 
straining  apart,  and  the  hoop  was  therefore  thickened  behind, 
less,  however,  in  these  gold  rings  than  in  the  sih'er  rings.  The 
earliest  setting  is  a  narrow  band,  with  the  swi\el-loops  set 
up  like  ears  on  its  upper  margin;  and  as  the  stone  was  liable 
t(j  fall  out  backwards,  these  loops  were  thickened  and  extended 
into  a  long  claw  which  _held  it  in  place.  Later  settings  are 
deep  enough  to  grip  the  beetle-feet  of  a  scarab,  or  the  upper 
edge  of  the  later  scaraboid,  and  the  swixel-sockets  are  then 
reduced  in  size  and  applied  to  the  outside  of  the  band.  Alan}' 
of  the  later  stones  are  designed  tor  such  mounting  and  are 
perforated  onl\'  parti},  or  not  at  all. 
The  stones  in  these  earh'  rings  are  as  lollov\s: 

NATIHAI,     AND    l.AKI."i'    OKIINIM.    SION'IS 

4136  has  a  natural  crxstal  of  b(,T\  I,  perforated  lengthways; 
41  37,  a  large  flat  hrati  of  pale  steal  ile,  like  a  \vr\  rough  1  lilt  ile 
seal-stone. 

4138,    an   Ass\rian    conical    seal   of  niilk\    chalcedon\',    rudel\ 
engra\ed  in  the  Name  st\le  as   )^()i-',  11.  witli  a  horned  aninuil 
and  another  object   behind   il.       1  he  perforation   is  lined  wilh 
41  I 


IHl-    COLLECTION    OF    FINGHR-RINGS 

gold  foil,  and  formerly  when  it  was  described  in  C\prus,  p.  369, 
"about  a  quarter  of  the  lower  part  was  encased  in  gold" 
likewise  1 1 1,  xxxii,  12. 

SCAKAliS    AND    SCARAROniS    OF    MIXFD  ORIHNTAL  STYLE 

41 30,  green  plasma  scarab:  two  seated  sphinxes  adore  a  "sacred 
tree,"  rough  earl\-  work:  the  wire  hoop  is  of  electrum.  Cy- 
prus, PI.  xxx\ii,  n.  Ill,  XXV,  12. 

4140,  milk}'  chalcedon\'  scarab:  I  sis  and  Horus,  between  Ra 
and  another  deitx',  all  in  a  sacred  boat  with  birds  on  prow 
and  stern.         C]\prus,  PI.  xxxxii,  12. 

4141,  bright  green  paste,  much  decayed.  C^able  border,  in 
rough  Oriental  st\le.  Ill,  xxv,  7. 

4142,  sard  scaraboid,  plain.  Ill,  xxv,  3. 

4143,  gold  scarab,  engraved  with  ram-headed  sphinx,  and 
ankh-sign.  C^\'prus,  PI.  xxx\iii,  20. 

4144,  pale  paste,  deca\'ed.     Note  the  high  swivel-socket. 

4145,  green  jasper:  winged  uracus  snake,  and  obscure  sign: 
in  a  claw-mounting.  C\prus,  PI.  xxxxiii,  23.      Ill,  xxv,  5. 

4146,  sard:  two  warriors  fighting,  with  pointed  caps,  round 
shields,  and  two  spears  each;  of  the  earl\'  seventh  century. 
C\prus,  PI.  xxxvi,  8;     Perrot,  fig.  448.  Ill,  xxviii,  9. 

4147,  sphinx-shaped  scarab  of  dark  blue  glass;  engra\'ed 
with  a  standing  figure,  much  deca_\'ed. 

4148-63.  Gold  Swi\el-Ri\gs  of  full\'  de\eloped  form,  with 
slightl}'  thickened  hoop  and  pi\ot  ends;  the  stone  is  some- 
times m(.)unted,  sometimes  not:  the  settings  are  often  of 
electrum,  which  is  rather  more  durable  than  gold.  The 
stones  are  now  usuall\'  of  hard  stone,  but  Eg\ptian  scarabs 
of  glazed  paste  are  in  fairl\"  common  use.  This  t\pe  begins 
in  the  sexenth  centur\'  and  goes  on  into  the  fifth;  in  Eg>pt 
it  remains  in  use  e\en  longer. 
The  stones  (scarabs  unless  otherwise  described)  arc  as  follows: 

.Mix!;i)  okihMAL  STVH-; 

4148,  I-'g\4nian  paste:  wise  with  two  spouts,  pouring  water. 
C^\prus,  PI.  xxw,  23  111,  xxv,  13. 

4149,  chalcedon\':   a   hawk-headed   deity    and    a    worshipper 

412 


4138 


4140 


4i4<' 


4150 


IMH    COI.LHC.TION    OF    FINGER-RINGS 

support  a  blank  cartouche,  beneath  a  winged  disc.  C>prus, 
PI.  xxw  i,  7.  Ill,  xx\-,  0- 

4!S(\  chaIcedon\-:  two  hawk-headed  deities  support  a  "sacred 
tree"  about  which  are  uraeus-snakes  and  the  Eg\ptian  double 
crown;  abo\e  all  is  the  winged  disc.  C_\prus.  PI.  xxxvii, 
10.  Ill,  XXV,  8. 

41SI,  carnelian:an  ape-headed  deity  sits  writing  with  tablet 
and  pen  in  front  of  a  single  character  Kl,.  probabh"  an  earh' 
form  of  the  Cxpriotc  sign  for  e.  C\'prus,    PI.    xxvii, 

xxx\i,  2.  Ill,  XXV,  6. 

41S.3,  green  plasma:  two  men  in  ribbed  kilts  wrestle  between 
winged  snakes.  On  the  ground  between  them  is  an  animal's 
head.         C\  prus,  PI.  xxx\  ii,  9.  Ill,  xx\-,  10. 

STONES    LATH,     PLAIN    OR    DECAYED 

4153,  sard:  bird  and  branch;  poor  late  work.  Cyprus,  PI. 
xl,  16.  Ill,  xx\-,  4. 

4154-5,  sard  or  4 156  agate,  scaraboids,  plain. 

4157,  garnet,  refixed  and  probabl\'  not  original;  the  hoop  is 
of  gold-plated  silver  and  the  setting  has  a  cable  border;  prob- 
abl\-  of  the  fourth  centur\'. 

4158,  malachite  scaraboid,  decayed:  the  hoop  is  of  gold-plated 
siK'er. 

4159-61,  blue-green  paste,  deca\ed:  4162,  \er_\'  small  agate 
scaraboid:  4163,  bezel  onl\-:  sard  scaraboid,  plain. 

4164-71.  Pendant-Rings  are  characteristic  of  the  same  period 
as  the  hea\\'  gold  swi\el-rings.  Some  of  these  rings  are 
\er\'  bulk\'  and  unsuited  for  finger-wear,  and  probabl\'  ser\'cd 
not  so  much  as  a  ring  as  for  a  handle  for  the  seal-stone.  The 
representations  of  them  on  statues,  like  1204-12,  show  that 
the\'  were  often  worn  on  a  cord,  or  as  part  of  a  necklace;  and 
some  of  them  are,  in  fact,  fitted  with  a  tubular  suspension- 
bead  or  collar  along  the  back  of  the  hoop,  so  as  to  be  more 
con\enientl\-  strung  among  beads  and  other  amulets.  It  was, 
then,  an  eas\'  impro\ement  to  compress  the  hoop  to  an  oval 
shape,  m(jre  united  to  protect  the  stone.  .As  ritual  orna- 
ments, these  pendant-signets  were  worn  until  Ciraeco-Roman 
times,  in  the  Greek  world,  in  I-"g\  pi,  and  as  far  afield  as  North- 
ern  India;  but  apart   from  this,  the  custom  of  wearing  rings 

4>4 


SIGNET-RINGS 

on  necklaces  seems  to  be  confined  to  the  period  of  Oriental 
influences. 

4164,  gold:  sard  scarab,  finelx'  modelled;  Horus  hawk  with 
s\'mbols  of  Osiris;  uraeus-snake  in  front.  Egxplian  stvle. 
Cyprus,  p.  310,  PI.  xxxvi,  i;     Perrot,  fig.  440.         Ill,  xxv,  14. 

4165,  gold:  the  plain  flat  scaraboid  is  of  lapis-lazuli,  broken 
into  three  pieces,  and  rejoined  with  gold  bands.  C\prus, 
Pi.  xxvii;  Perrot,  fig.  439. 

4166,  silver:  carnelian  scarab:  two  men  in  pointed  caps  and 
long  robes  adore  a  "sacred  tree";  fine  work  in  Oriental  st\ie. 
C\prus,  PI.  xxxvi,  a.  Ill,  xxvii,  4. 

4167,  silver:  agate  scarab:  between  uraeus-snakes,  the  name 
.\len-kheper-ra,  in  cartouche,  carelessly  copied.  This  is  the 
throne-name  of  the  great  Eg\'ptian  conqueror  7'hothmes  III, 
who  reigned  about  1 501-1447  B.  C,  and  is  ver\'  common  on 
scarabs  of  all  later  periods.  It  is  also  the  name  of  an  ob- 
scurer King  of  the  XXI  D\nast\'  who  reigned  about  1043-993 
B.  C.  This  scarab,  however,  cannot  in  anv  case  be  much 
earlier  than  the  XX\'I  D\'nast\-,  which  began  in  664  B.  C. 
Cyprus, PI.  xl,  19.  Ill,  xx\i,  3. 

4168,  siher:  agate  scaraboid;  griffin  and  ankh  sign;  rough 
Oriental  st\'le.         C\prus,  PI.  xxxxiii,  c.  Ill,  xx\ii,  3. 

4169-71,  silver:  without  suspension  ring,  and  of  slighter  make. 

4169,  blue  glass-paste  scarab,  deca\ed:  the  gold  mount  has  a 
poor  cable  border. 

4i7f),  Iig\'ptian  paste  scarab;  lotos  tiesign  about  a  sacred  bix'tle. 
C\prus,  PI.  xx\\ ,  2.  Ill,  xx\ii,  (>. 

4171,  sil\er  mount,  l{g\'ptian  glazed  steatite  scarab:  two 
uraeus-snakes.  lacing. 

4172-76.  Othi:[?  Pi:\[)A\r  Si.imnos  iok  .Sk.m/i  and  I^i.ain 
Stom-.s:  all  belonging  to  \hc  period  when  stones  were  coming 
into  use  for  their  colour  ;iloni\  Similar  swi\cl-mounts  are 
used  also  in  oniinarN'  neckhicrs  for  ti'rmina!^  (  ^072)  and  control- 
beads  (  3  32(»K 

4172,  gold  banti-sellmg  with  cable  orn;imrnt,  and  a  susfH'n- 
sion-bead  at  onr  rnd;  hrouii  ;igatf,  tl.it:  two  wild  goals  jiranc- 
ing  back  to  back:  ArclunV'  (.\priotr  st\K'.  (Aprus,  PI. 
xxvii;  xxx\iii,  25.  Ill,  \xi\,  2. 

413 


IHH    C.OLLHCTION    OF    FINGER-RINGS 

417^,  gold  band-setting  without  swivels,  but  with  traces  of 
a  lost  suspension-ring  at  one  side;  blue  chalcedony  scaraboid; 
a  man  runs  between  two  prancing  horses,  which  he  controls 
with  either  hand;  an  instructive  \ariant  of  the  old  motive 
of  the  "beast-tamer."  Archaic  C\'priote  stvle.  C\prus,  PI. 
xxxix,  5.  Ill,  xxix,  14. 

4174,  gold  band-setting  with  filigree  ornament  and  blind 
swivels,  suspended  b\'  a  ring  at  one  side  from  a  plain  gold- 
plated  ring;  sard  scaraboid;  winged  V'ictorx'  holding  a  wreath 
and  standing  nearl\-  full-face,  with  head  turned  in  profile. 
Mature  st\-le,  of  the  late  fifth  centur\'.      C\prus,  PI.  xxxix,  4. 

Ill,  xxix,  1 1 . 

4175,  two  band-settings  like  4167,  suspended  one  from  the 
other  on  a  ring  like  4174:  the  stones  are  missing. 

4176,  lozenge-shaped  band-setting  with  late  granulated  orna- 
ment, on  a  similar  ring:  the  stone  is  missing.  Ill,  iv,  27. 

4177,  o\al  band-setting  on  a  similar  ring:    flat  green  paste. 

1 1 1,  iv,  30. 

The  siK'er  rings  of  this  period  are  of  the  same  type  as  the  gold 
rings  4148  ff.  above;  between  the  pi\'ot-ends  is  an  engraved  scarab 
or  scaraboid,  set  in  a  swi\el-mount  usuallx'  of  gold  or  electrum 
but  occasionally  (4178-9)  of  silver  like  the  hoop.  The  signets, 
as  in  the  contemporar\'  gold  rings,  are  commonl\'  of  hard  stone, 
but  sometimes  of  Eg\'ptian  glazed  paste.  The  hoop  of  these  rings 
is  sometimes  as  slender  as  in  the  gold  rings,  but  more  commoni}' 
is  ver_\'  thick  and  hea\\'  at  the  back;  and  often  too  large  to  be  worn 
conveniently'  on  a  finger.  .Most  of  these  signets  are  of  the  sixth 
and  earl\'  fifth  centuries,  .\fter  the  earl\'  fifth  century  these  massive 
rings  go  out  of  fashion. 

4178-c).  SiLX'F.R  Swi\EL-RiNGs,  with  silver  mount.  It  is  perhaps 
not  mere  accident  that  both  these  rings  have  their  signet 
engraxed  in  an  unusuallv  rough  .Asiatic  st\le.  They  are  of 
light  make  and  have  the  early  t\pe  of  mount  with  high  loop- 
sockets:  compare  the  silver-mounted  scarab  4 192,  which  though 
rather  later  shows  strong  Hittite  influence  in  its  engraving. 

4178,  bright  blue  chalkx'  paste  scarab  engraved  with  a  flying 
bird  like  that  of  the  painted  \ases  in  angular  barbaric  st\ie. 
This  bright  blue  paste  is  fairlx'  common  for  scarabs  and  round 
flat-sided     scal-heatis    (4540),    in    tombs    of   the    geometrical 

410 


4172 


4196 


41  (JO 


4'<)^ 


riu-:  c:oLLi-:criON  of   finghr-rings 

period:  ir  seems  to  he  certainl\- earlier  than  the  XX\'I  D>  nasty 
and  was  popular  in  Nubia  under  the  XX\'.  C\prus,  Pi. 
x.xwiii.  b.  Ill,  xxvii,  8. 

4i7(),  green  plasma  scarab,  of  the  earl\'  keeled  form:  plain. 

4180-4208.  Sii.Ni-R  S\\i\HL-RiN(;s  of  the  full\'  developed  form, 
with  hoop  iireail\-  swollen  behind.  Thex'  co\-er  the  same 
period  as  the  gold  rings  of  similar  construction,  and  the  swivel- 
settings  and  engraxed  stones  are  of  exactl\-  the  same  forms 
and  st\les.  The  stone  scarabs  are  general!}-  of  the  same 
high-backed  form,  with  a  strong  keel  down  the  middle  line. 

HC'.YIMIAN    STYLE 

4 1  So.  Egxptian  glazed  steatite  scarab,  \\ith  double-footed 
ankh-sign  between  crowned  uraeus-snakes;  in  earl\'  setting 
with  enlarged  swi\el-ends.  Ill,  xx\i,  6. 

4181,  Eg\'ptian  i\'or\'  scarab:  cartouche  of  Mcn-khcper-ra 
between  a  winged  uraeus  and  a  crowned  king  who  kneels  and 
makes  offering;  the  setting  resembles  that  of  4180.  C_\prus, 
PI.  xx\i;  XXXV,  i;     Perrot,  tig.  60s.  Ill,  xxvi,  4. 

4182,  Eg\ptian  grex'stone  scarab:  Osirian  hawk  and  winged 
uraeus:  much  decax'ed.  The  hoop  is  missing;  the  setting 
resembles  that  of  4181. 

4183,  chalcedonv  scarab  in  the  same  earl}'  setting  as  4181: 
ankh-sign  rudel}'  engraxed;  this  scarab  xvas  alreadx'  chipped 
when  it  xxas  set. 

4184,  steatite  scarab  in  electrum  band;  kneeling  sphinx  and 
bird,  in  barbaric  st}le.       C^}prus,  PI.  xxxx',  22.    Ill,  xwi,  9. 

4185,  blue-glazed  stone:  engrax'ing  much  deca}ed.  Ill,  xxxii,  to. 

4186,  agate  scarab:  engraving  deca}ed. 

MIXED  OKIl-NIAL  STVl.H:   USUALLY   XXITHOUT  MOUNL 

4187-C),  sard  scarabs:  hawk-headed  sphinx  and  ankh-sign: 
the  ankh-sign  in  4187  is  replaced  b}-  a  K)tos  plant,  and  a 
nub-sign  is  added  to  fill  the  exergue.  C}-prus,  PI.  xxxvii, 
15  (4187),  17  r4i8o),  iQ  f4i88). 

Ill,  xxvi,  2  r4i8()),  5  (4187);    xxxi,  7  (4188). 

4Ujo,  agate  scarab:  solar  disc  between  uraeus  snakes,  in  solar 
boat:  xvinged  disc  and  disc-and-crescent  above;  pap}TUS  foliage 
beloxv;  tine  xxork  of  Oriental  stxle.        Cxprus,  PI.  xxxxii,   u. 

Ill,  xxvi,  1. 

418 


SIGNHT-RINGS 

4ic)i,  plasma  scarab,  gold  claw  mount;  hawk-headed  sphinx, 
in  ro\al  crown,  recumbent;  in  front  is  t ,  the  Cypriote  char- 
acter for  a.     Cyprus,  PI.  xxxvii,  19. 

4192,  sard  scarab:  worshipper  standing  before  a  seated  deity, 
both  in  high  Hittite  caps;  a  table  is  between  them,  and  winged 
disc  above;  unusually  rugged  style,  perhaps  from  Asia  Minor; 
and  the  mount  is  of  sih'er  like  those  of  4178-9.  C\prus,  PI. 
XXXV,  4.  Ill,  xxvi,  !0. 

ARCHAIC  CYPRIOTE  STYLE 

4193,  agate  scarab:  cow  and  suckling  calf  in  a  \er>'  archaic 
Cypriote  style,  with  some  reminiscence  of  the  Alxcenaean 
treatment  of  this  motive:  in  the  background  is  a  conx'entional 
tree,  and  the  C\'priotc  inscription  zo.wo.te.la.se,  perhaps 
a  Greek  personal  name  like  Zoteles:  Meister  reads:  zo-\o- 
te-mi-se    (Zoothemis).     Sec  Appendix.  Hi,  xxxii,  2. 

4194,  agate:  hippocamp.  C\prus,  PI.  xl,  18. 

4195,  sard:  two  lions  struggle  foot  to  foot  and  head  to  tail, 
forming  a  s\mmctrical  group;  cable  border.  (^\prus,  PI. 
xxxviii,  21.  Ill,  xxvii,  1. 

4196,  sard:  Herakles  with  lion-skin  and  sword,  attacks  a  ram- 
pant lion;  uraeus  behind;  a  winged  disc  abo\e;  poor  unfinished 
work.         (^_\prus,  PI.  xxx\i,  3.  Ill,  xxvi,  8. 

4197,  agate:  winged  figure  kneeling  with  extended  hands;  poor 
unfinished  work.         Cxprus,  PI.  xxx\i,  6.  Ill,  xxvii,  12. 

MATURE   SIYl.E,   SCARABOIDS    RlM'LACi:   SCARABS 

4198,  chalcedonv  scaraboid:  a  horse  in  the  act  of  rolling  or 
lying  down:  above  is  the  name  ^-.r^z'.v.zyr.-f,;  in  Crt'ek  letters 
of  the  fifth  centurw         (^\prus,  PI.  xl,  14.  1 1 1,  xxvii,  2. 

4199,  chalcedonN'  scaraboid:  Hades  carries  oH'  Persephont', 
who  lets  tall  a  lC)rLh:  \er\'  (ine  \\'ork  of  the  fil'lh  centurw 
fj\'prus,  PI,  xxxix,  2.  Ill,  xx\  ii,  (). 

4200,  smok\-  jilasma  scaraboid;  a  \()ung  man,  nude,  leans  on  a 
staff,  and  [ihivs  with  his  dog:  fine  work  of  thee;irl\  fifth  cen- 
turv;  the  hoop  ih  nn'ssing,     ( ^xpriis,  PI.  xxxix, (>,  IIl,xx.\i,S. 

4201,  green  plasma  scar;iboid:  ;i  \oiing  man,  mule,  sils  crouch- 
ing, and  [)la\s  with  ;i  bird  iii  his  IkiiuI.  I  he  st\le  is  not 
cjuite  so  athanced.  (^firuN,   PI,  xxxix,  7.  Ill,  xxxi,  s- 

4i() 


IHl-;    t.OI.l.I-.C.l  ION    Ol      I  INC.IR-KINGS 

ni;(:.\i)f-N  I  sr^i.i-:  ri,\iN  sionis  in  oknaii.  mdinis 

42(12-08.  Plain  scarabs  and  scarabuids  in  more  or  less  ornate 
nioLintini;:  4202  agate;  4203-4  plasma;  4205-7  sard;  4208  green 
paste.  The  hoops  of  4207-8  are  of  bronze,  but  the  t_\-pe  of 
ring  is  the  same:  and  these  appear  to  be  fairl\-  earl}-  examples. 

420Q-10.      Rixos  wiMi   Bi-.AD-SHAi'ED    SiGNHT,  replacing  the  more 
usual  scarab:  the  bead  is  spindle-shaped  as  if  to  imitate  a  c\lin- 
der-seal,  and  the  engra\ing  is  on  a  flat  facet  on  one  side. 
42o(),   gold   ring:  brown   agate:  two  lions  facing:  \  ery   rough 
Oriental  work.         C\prus,  PI.  .xxx\ii,  14.  Ill,  xx\-,  13. 

4210,  siher  ring:  red  agate:  crane,  in  rough  work  of  nearl\' 
mature  st\le.         Cx'prus,  PI.  xl,  17.  Ill,  xx\ii,  7. 

In  the  fifth  centur\-  these  hea\\-  swi\el-rings  of  gold  or  sih'er  gi\e 
place  to  slighter  rings  of  gold  or  gold-plated  sil\er  and  bronze  with 
gold  settings  which,  though  still  provided  with  sockets  at  the  ends, 
are  soldered  usuallx'  to  the  hoop.  This  being  no  longer  exposed  to 
an>'  strain,  becomes  slender,  and  is  sometimes  made  of  plaited  wire. 
The  setting  is  enriched  with  spirals,  usuall\'  i\\-leaves  (421  i),  or 
spirals  (4214,  4220-2,  4225)  or  loop-ornament  (4212-13,  4218, 
4224.  4226)  in  filigree  work,  occasional!}'  tilled  with  coloured 
enamel  (4211):  it  is  sometimes  not  a  mere  band,  but  a 
box-setting  with  gold  bottom,  to  set  off  a  translucent  stone  (4214- 
16).  .Man\'  of  the  stones  are  plain:  those  that  are  engra\'cd  are 
either  set  face  outwards  in  a  fixed  mount,  or  retain  the  swi\-el- 
mount  to  protect  the  engra\ing. 

4211-16.  Gold  FiLicREt-  Rings  wnii  Plain  Stones:  4211-12 
carnelian,  4213  plasma,  4214-3  sard,  4216  rose-quartz  with 
plaited  hoop  ending  in  volutes. 

4217-26.  Gold  Rings  with  Engka\ed  Stones  in  plain  band- 
settings  or  filigree  mounts:  the  settings  of  4220,  4222  are 
closed  behind  like  4214-16  and  the  hoop  of  4222  is  plaited  like 
42  i(),  the  hoops  of  4217-8  are  of  gold-plated  bronze  like  the 
contemporar\-  bracelets  3356-63. 

4217,  agate  scarab:  uraeus  and  flower:  poor  work  imitating 
the  Oriental  st\  le,  but  probabh'  not  earlier  than  the  fifth 
centurw         (^xprus,  PI.  xxx\iii,  24. 

42i8-(),  Fgxptian  paste  scarabs:  4218  uraeus  and  feather, 
111,  xx\-,  11;  4219  green  glazed:  Osirian  hawk,  nub-sign 
above. 

420 


4200 


4223 


422(J 


4220 


42jjO 


THE    COLLHCniON    OI-     FINGER-RINGS 

4220,  Hat  sard:  a  \()ung  winged  figure  holds  a  flower:  a  snake 
rises  behind:  archaic  st\le,  nearh"  mature,  of  the  early  fifth 
centur\.         C\  prus,  l^h  xxxix,  3.  Ill,  xx\iii,  15. 

4221,  carnelian  scarab:  a  nude\outh  leans  on  his  staff,  and 
seems  to  touch  his  raised  heel  with  one  hand:  cable  border: 
archaic  st\le.         C\prus,  PI.  xl,  11.  Ill,  xxix,  13. 

4222,  flat  carnelian;  a  nude  youth  holding  a  knife  or  a  cord, 
seizes  a  crouching  girl  b\'  the  hair:  cable  border:  mature  st\'le. 
Cyprus,  PI.  xl,  9.  HI,  xxviii,  13. 

4223,  sard  scaraboid  in  plain  band-setting:  Boreas,  nude,  young 
and  winged,  carries  off  the  nymph  Oreith\ia,  who  lies  in  his 
arms  and  lets  fall  a  tortoise-bodied  l}re:  exceptionally  fine 
work  in  nearl\- mature  st\le.    C\'prus,  PI.  xxxix,  i.     1 1 1,  xxviii,  8. 

4224,  carnelian  scaraboid:  Herakles  stands  nude  with  his  lion- 
skin  on  his  outstretched  left  arm,  which  holds  a  half-drawn 
bow:  his  right  hand  brandishes  his  club  behind  his  head.  A 
fine  Hellenic  version  of  the  old  cult-figure  as  it  appears  on  the 
coins  of  Kition,  and  on  the  Eur\'tion-slab  1368  in  the  Collection 
of  Sculpture.         (~\prus,  PI.  xli,  29.  HI,  xxviii,  14. 

4225,  white  steatite  scaraboid:  a  nude  girl  washing  her  hair  at 
a  basin;  not  \er\'  good  work.         Cx'prus,  PI.  xl,   12. 

4226,  dark  opaque  stone,  con\-ex:  a  sleeping  hound,  tethered  to 
a  tree  trunk.         C\prus,  PI.  xl,  15. 

4227-8.  4227,  SiL\'ER  Ring  of  the  same  st\Ie  as  the  preceding 
group:  cr\'stal  scaraboid,  plain;  4228  is  a  similar  scaraboid  dis- 
mounted. HI.lxxv,  5  (4228). 
In  the  fourth  centurv,  the  new  interest  which  was  taken  in  "pre- 
cious" stones  led  to  neglect  of  the  settings;  and  rings  became  little 
more  than  a  means  for  securing  and  exhibiting  a  "gem,"  which  was 
itself  more  prized  for  rarit\-  and  brilliance  than  for  engra\Tr's  work- 
manship. .And  as  the  chief  centre  of  the  traffic  in  gems  was  in 
.Alexandria,  it  is  not  surprising  that  the  commonest  t\-pes  of  rings 
should  follow  conventional  Eg\-ptian  models,  with  the  loop  thick- 
ening forward  to  a  massi\'e  bezel.  Perforated  stones  and  swi\el 
settings  went  quite  out  of  use,  and  all  stones  were  mounted  in  fixed 
band  or  box  settings.  There  was,  however,  still  fine  engraxed 
work,  both  in  flat  or  slightly  con\ex  stones  and  in  gold  and  silver: 
the  unengraved  rings  4064-9  show  the  characteristic  forms  of  the 
latter. 

422 


SIGNET-RINGS 

4229.     Silver  Ring  with  round  box-setting  of  pale  gold,  apparently 

fixed;  engraved  sard;  a  girl  sils  crouching,  nude  as  if  at  the 

bath:  mature  st>le,  of  the  fourth  centurw         C^xprus,  PI.  xl, 

13.  in,  xx\ii,  5. 

4230-32.     C}c)LO  Rings  with  large  shallow  box-settings  for  a  flat 

stone:  pr(jbabl\'  of  the  fourth  or  third  centur\',  though  these 

t\pes  go  on  later  also. 

In  the  Hellenistic  centuries,  siKer  rings  soon  pass  out  of  common 

use  and  are  almost  obsolete  in  Graeco-Roman  time;  while  bronze 

becomes  commoner.     Gold  rings,  which  are  frequent,  are  for  the 

most  part  slight  and  of  poor  workmanship,  and  their  form  changes 

but  little  further  in  the  Graeco-Roman  .Age.      Those  Vvhich  carr\- 

stones,    whether    Hellenistic    or    Graeco-Roman,  are    of    massixe 

appearance,  but  usualh'  hollow.     The  hoop  is  slender  behind,  and 

swollen   in   front    to  receive  the  stone,   which   is  deeplx'   inset,  so 

that  its  surface,  if  flat,  is  le\el  with  the  gold.     Sometimes,  howe\er, 

there  is  a   distinct   bezel   with  one  or  more  mcjuldings   round   it, 

and   this   bezel   ma\'   be   \  er\-   deep   and   prominent    (4241-4).      In 

one  rare  \ariet>'  the  stone  is  set  within  an  opening  like  the  orbit 

of  an  e>'e,  either  plain  (42()i)  or  edged  with  scrolled  wire  (42()2). 

4233-43.     Gold   Rings   with   Hat   engra\-ed   stones,   of  the  forms 

ab(ne  described:  the  stones  are  sard,  carnelian,  on_\x  (4240), 

and  carbuncle  (423s,  4^V^).  The  stones  are  engra\ed  as  follows: 

4233,  sard:  Hr(js  leaning  on  an  inverted  torch.  Ill,  xx\iii,  7. 

4234,  sard:  \'iclor\  plaiting  a  wreath:  on  the  back  of  the  bezel 
are  engraved  the  letters  T.\.  (i\prus,  ji.  3()2.      lll,xxix,  12. 

4235,  carbuncle:  a  nudr  \-oulh.  probabl\    l)ion\sosas  in  4241, 
leaning  on  a  colimm  and  holding  a  wreath.  111.  xwiii,  ii. 

4236,  sard:  a    female  portrait    head,  of  good   late  work,  with 
hair  coiled  abo\e  and  behmtl. 

4237,  sard:    the    long-eared    animal,    seated, 
izes  the  I-,g\[itian  dcit\   Set. 
423S,  carbuncle:  a   leUKde  figure  standing. 
4230,  s;ird :  ;i  running  hoinid. 

4240,  f)n\x:  ;i  ll\  :  as  on  the  sard  in  the  chis[i  ( 

4241,  sard:  \ouiig  l)ion\sos,  leanuig  on  :i 
th\TSOs  and  kantharos:  in  front  ol  iiim  is  a  |)aiilher.  .\2>,'-,. 
42. \>,,  and  iiroh;dM\  .1244  are  poor  co|>ies  of  the  s.inie  niolne. 
Gvprus,  l'\.  xli,  2.  Ill,  xx\  Ml,  10. 

423 


III, 

xx\  iii, 

(), 

w 

hi.h 

s\  mb( 

)i- 

11 

1,    XXV, 

2 

111 

,    X  X  i  X , 

4 

\     ) 

111 

,  xxix, 

-) 

1   5 
col 

limn 

,    holdni-: 

THH    COLLECTION    OF    FINGER-RINGS 

4242,  sard:  figure  of  Plcnt>'  with  cornucopia.  Ill,  xxviii,  12. 
424^.  sard:  an  erect  figure  leaning  on  a  column  and  holding 
a  fillet:  probahlx'  Dion\sos  as  in  4241.  Ill,  xxix,  51. 

4244.  C'lOLD  Ring  w  ith  C1\meo  in  white  glass  on  blue:  an  erect 
figure  raising  ihe  right  arm:  probahl\'  another  Dionysos  like 
4241.  Ill,  xxix,  6,  (where  the  ring  is  wrong!)-  given  as 
bronze). 

424S-T2.  Gold  Rings  with  Cowex  Engr.aved  Stones;  mostl\' 
carbuncles,    but    also  sard,  carnelian,  and  green  glass  paste. 

4245,  green  glass  paste:  a  large  \  ase  without  handles. 

1 1 1,  xxix,  g. 

4246,  carbuncle:  winged  Victors.  Ill,  xxviii,  3. 

4247,  carbuncle:  .Athena  ad\ancing.  Ill,  xx\iii,  i. 
4248-50,  carbuncle:  4248,  figure  of  Plenty  with  cornucopia 
and  wand;  4249,  female  head;  4250,  hippocamp  with  goat's 
head. 

4251,  carbuncle:  figure  of  Plenty  with  cornucopia. 

1 11,  xx\iii,  4. 

4252,  sardon\x:  .Athena:  very  poor  work. 

4253-77.  Gold  Rings  with  Plain  Stones,  mostl\'  con\ex.  The 
rings  are  of  the  forms  alread\'  described:  the  stones,  besides 
those  alread\'  named,  include  flat  garnet  as  well  as  carbuncle 
(which  is  the  same  stone  cut  conx'ex),  ameth>'st  (4254-55), 
and  ber_\l  (4272).  The  last  two  were  valued  for  the  magical 
properties  ascribed  to  them,  as  well  as  for  their  colour;  ber_\'l 
as  a  charm  to  protect  e\esight,  ameth\st  against  the  effects 
of  wine.  Glass  pastes  also  are  common  (4276),  especiall_\' 

in  imitation  of  ber\i  (4263,  4274-5).  The  pale  blue  stone 
in  4259  ma\-  be  turquoise  or  an  imitation  of  it.  The  sardon>x 
42(')4  is  cut  to  a  prominent  cone,  so  as  to  show  its  la_\ers. 
With  these  stones  and  pastes  should  be  compared  those  in  the 
contemporar\-  earrings  3792  tf". 

4278-().  Silver  Rings  with  Engr.wed  Stones,  rare  in  this  period, 
and  closely  following  the  fashions  of  the  gold  rings. 

4278,  carnelian:  Ares  standing  with  spear  and  shield:  the 
stone  is  in  a  box-setting  on  the  front  of  a  flat  hoop,  partl\' 
destro\-ed.  Ill,  xx\ii,   1  i. 

4279,  on\x  paste:  decaxed. 

4280-8:;.     Bronze   Rings   with   Engraxed  Stones,  of  the  same 
t>-pes,  except   that  4283   has  a  stronglx'  moulded  hoop.  4281 
424 


SIGNHT-RINGS 

is  in  the  bright  coloured  allo\-  known  anciently  as  oreichalkos. 

4280,  chalcedon}',  circular:  a  \oung  centaur,  carrxing  branches; 
better  work  than  usual.  Ill,  xxix,   7. 

4281,  sard:  \'ictory  holding  wreath.  Ill,  xxix,   10. 

4282,  \ellow  jasper:  a    scorpion.  Ill,  xxix,  i. 

4283,  onyx:  Eros  on  a  dolphin.  Ill,  xxix,  3. 

4284-91.  Engraved  Stones  fro.m  Rinc.s  like  the  preceding  groups. 
The  materials  and  subjects  repeat  for  the  most  part  those 
alread}'  noted: 

4284,  agate:  helmeted  head  conjoined  with  a  Seilenos  mask, 
so-called  grxllos.  lll,xxxii,  4. 

4285,  carnelian:  Victory  offering  a  sucking-pig  at  an  altar 
decorated  with  a  bull's  head.  ill,  xxxi,  7. 

4286,  sard:  Victory  with  wreath  and  palm.  Ill,  xxxi,  q. 

4287,  sard:  standing  female  figure  \er\'  obscurely  cut. 

4288,  sard:  Plenty  with  cornucopia  and  wand.         Ill,  xxxi,  6. 

4289,  sard:  female  figure  crouching  and  pouring  from  a  \ase; 
better  work  than  usual.         Cvprus,  PI.  xxxix,  8.     Ill, xxxi,  10. 

4290,  sard:  helmeted  head,  probably  Athena.         Ill,  xxxii,  5. 

4291,  sard:  a  bearded  head,  suspended  like  a  bunch  of  grapes 
from  a  twig,  probabl\'  Dion\siac:  around  it  are  (]\priote 
characters,  for  which  see  the  Appendix.  On  the  back  is  an 
Arabic  inscription  "Ishmael,"  and  the  setting  is  modern. 
C\prus,  PI.  xli,  a;  Deecke,  51.  Ill,  xx\iii,  5. 

4292-3.      Rings  or  Rock  (^R'tsiAi,:  of  these  4292  is  a  plain  circlet 
lined  with  gold  foil,  perhaps  of   the   same   workmanship    and 
date  as  the  cr\stal  scent-bottles  33()8-3()()o  and  beads  3387. 
4293,    howexer,    has   the   exaggeratetl   flat    be/el   characteristic 
of  (Iraeco-Roman  rings.  Ill,  lxx\',  (),  3. 

4294-7.  RiNT.s  ANi;  Fn(, RAVED  Oems  Of-  (jLass,  all  of  the  (iraeco- 
Roman  .Age.  The  ring  42()4  has  the  same  large  be/el  as  421)',, 
but  is  hollow  and  contains  a  convex  "gem"  of  thin  blown  glass, 
like  a   watch-glass. 

4295  is  of  amber  glass,  with  an  amber  "gem"  like  t  he  gdld 
rings  42  s  5-77- 

4296  is  a  flat  oval  onvx-pasir,  engraved  uitli  a  female  fii.;ure 
who  seems  to  hold  a  sm;ill  animal  hv  I  he  leg:  perhaps  a  nun'uad 
or  votar\'. 

4297  is  a  cameo,  of  dark  glas^  on  milk\-  ground;  a  \oung  m;de 
head,  wreathed;  of  line  though  late  work. 

427 


im-;  coLi.iicTioN  of  mnger-rings 

Of  separate  interest  are  the  two  objects  in  the  Collection  which 
contain  allusions  to  the  new  cults  which  became  popular  in 
the  eastern  provinces  of  the  Roman  limpire,  and  did  much  to 
prepare  the  \va\'  for  the  spread  of  Christianity. 

42q8.  Enor.whd  Si:al-St()ni-;  or  Amulet  of  Red  Jasper,  in 
square  gold  cable-border:  inscribed  Et?  Zsj;  llspaz'.^  "there 
is  One  Cjod,  Zeus  Serapis"  in  Graeco-Roman  lettering. 

4200.  .MiTHRAic  Amulet  of  Haematite,  flat  and  oval,  engraved 
on  one  side  with  a  human  figure  with  raised  hand,  and  rays 
round  his  head,  surrounded  by  a  winged  disc,  pairs  of  birds, 
scorpions,  crabs  or  scarabs,  snakes,  and  a  crocodile,  all  in  coarse 
Graeco-Roman  style.  On  the  back  is  a  magical  formula  in  late 
Greek  letters,  much  worn,  and  mostl\-  illegible.         Ill,  xxxi,  18. 

A  bronze  three-cornered  seal  with  barbaric  Oriental  engraving, 
of  doubtful  authenticity,  and  two  modern  rings  of  base  gold, 
containing  respectively  a  sard  with  modern  Arabic  inscription 
"Allah  is  the  Self-sufficient  One,  and  1  am  his  Servant," 
dated  AH  1212  (^1797  A.  D.),  and  a  modern  pressed  glass 
counter  (III,  xxix,  8)  are  not  exhibited. 


426 


IHK  COLL HCl  ION   OL 

CVLINDLRS  AND  Ol  111  R 

ORILNTAL     SLAL-STONLS 


THE   COLLECTION   OF   CYLINDERS    AND 
OTHER  ORIENTAL  SEAL-STONES 

THH  engraved  seal-stones  found  in  C\prus  fall  into  five 
principal  groups:  (i)  Bab\lonian  c\iinders  and  native 
imitations  of  them;  (2)  C\-pro-iM\cenaean  cylinders,  of 
Mediterranean  affinities,  and  barbaric  copies  of  them, 
probably  of  the  Earl\'  Iron  Age;  (3)  conical  and  domed  seals,  like 
those  of  North  S\ria  and  Asia  Minor;  (4)  scarabs  and  scaraboids 
of  Oriental  and  Archaic  C}'priote  stvles;  and  (5)  the  flat  or  con- 
vex gems  of  the  Hellenistic  and  Graeco-Roman  Ages.  Each  of 
these  groups  reflects  a  distinct  set  of  foreign  influences,  and  mav 
be  assigned  to  the  same  phases  of  ci\ilization  as  the  p()tter\', 
sculpture,  and  mctalwork.  Classes  (4)  and  fs),  being  almost  all 
designed  for  use  in  rings,  are  included  in  that  (collection,  41  56-42^1 
above.  The  earlier  groups  are  reserved  for  separate  treatment 
here. 


F^ABYLONIAN   CYLINDERS,   VARIOIS    I'l-RIODS    AND    SlYIJ-.S 

C^\'linders  of  this  kind  ha\e  been  found  more  tlian  once  in  C.\jiriote 
tombs  of  the  .Middle  Ijron/e  Age,  ami  smiie  of  those  of  uliich 
there  is  no  precise  e,\ca\  alion-record  are  assigned  b\  their  slyle  to 
a  date  within  the  probable  limits  of  this  period  in  (^x  jirus.  These 
are  g(.'nuine  Nsorks  of  Hab\lonian  art,  with  representations  of 
Bab\'lonian  m\ths  and  deities,  and  occasional  ciineilorm  inscrip- 
ti(jns.  'Iln'\-  arc  engra\rd  on  haematite,  j.isper,  and  other  hard 
stones.  The  re\-ol\ing  drill  comes  into  use  on  c\lindi-rs  <if  about 
1500  \'>.  ('..;  all  before  that  date  are  eiigraxed  with  the  point. 

4500.  IVMniJjNiAN  (^viiNDi  K  of  haematite,  engra\fd  as  tollows: 
a  god  in  horned  i.ip  brandishes  a  mace  and  the  lorked  light- 
ning  of    l\a-\'ul,    the     I  hiinder-(  .od,    and    sets   one    loot    011    ,1 

4^0 


THU    COLLla/l  ION    ()[■    C^' l.IN  DH  RS    AND    SHA  I.-STON  ES 

rocunibont  bull;  behind  him  is  a  leaping  ibex;  in  front  a  man 
(perhaps  the  king),  in  a  short  coat,  stands  near!}'  fuil-faee, 
and  be\ond  him  a  smaller  man  (probabl\-  the  owner  of  the 
exlinder)  kneels  to  him  on  one  knee;  abo\e  the  small  figure 
is  a  recumbent  deer,  inxerted.  Then  comes  another  figure 
in  long  garment  with  man\'  fringes;  and  then  three  rows  of 
cuneiform  writing,  ".\rba  Istar:  son  of  Ibu  Beled;  ser\ant  of 
the  god  Naram-Sin."  The  king  Naram-Sin,  to  whom  a  divine 
title  is  here  given,  reigned  in  Bab\donia  not  later  than  2600 
B.  C,  and  the  cxlinder  ma\'  \er\'  well  be  of  his  time.  The 
engraving  is  firm  and  deep,  and  of  fairst\le.   (^\prus,   Pl.xxxi,  1 . 

Ill,  cx\  iii,  y. 

4301.  Babylonian  Cylinder  of  milk\'  chalcedon\',  unusualK' 
large.  engra\ed  with  a  bearded  man  in  a  long  robe:  in  one 
hand  he  holds  a  short  stall';  the  other  is  raised  in  adoration. 
In  a  compartment  above  his  head  are  two  sphinxes  in  conical 
caps,  seated  face  to  face.  The  rest  of  the  cylinder  is  co\ered 
with  eight  rows  of  cuneiform  writing,  an  in\ocation  to  Sin, 
the  Babxlonian  .Moon-God,  "Sin,  Benefactor  of  .Multitudes: 
Judge  of  the  World,  Perfect  Purifier  of  hea\'en  and  earth: 
Gi\er  of  the  life  of  the  Gods:  The  Law  which  supplies  the 
ser\ant  of  Thxself:  m\-  Prince:  Turan  Agiu:  the  son  of  Puri; 
the  Reader."  Fhe  work  is  \er\'  clear  and  unusualh'  simple. 
The  sphinxes,  which  do  not  occur  in  the  earlier  Babxlonian 
art,  suggest  a  date  not  earlier  than  1000  B.  C  C\prus, 
PI.  xxxi,  3;  Perrot,  fig.  427;  .Menant,  Glypliquc  Oricniale, 
11,  p.  241  tf.                                                                     111.  cxviii,  I. 

4302.  Babylonian  (^'>lindhr  of  haematite.  .A  worshipper,  in 
a  long  robe,  holding  a  cur\ed  staff,  stands  before  a  bearded 
god,  wh(j  wears  a  short  tunic  but  has  no  attributes.  Two 
rows  of  cuneiform  script:  "  E\erbaga :  ser\ant  of  Nergal,"  an 
important  Babxlonian  deitw  The  work  is  of  fair  qualit}'. 
C\prus.  PI.  xxxi,  2.  Ill,  cxviii,  ^. 

430^.  Bab^  LoNiAN  ('vLiNDhK  of  haematite,  engra\ed  with  a  god 
stabbing  a  lion  whom  he  holds  b\'  the  tail,  head  downwards. 
1  his  scene  is  gi\en  twice,  and  between  stands  a  goat-headed 
demon  with  birds'  feet.  The  work,  though  \igorous  and 
Well  preser\'ed,  is  \  er>'  rough,  and  not  eas\  to  interpret; 
Bab\  Ionian  st\le  is,  however,  well  marked.  III.  cxix,  6. 


430 


4300 


430I 


im-;    COLLECTION    OL    CYLlNDIiRS    AND    SEAL-STONES 

OrHER    ORIENTAL    c;YLINDERS,     EGYPTIAN    OR    ASIATIC, 
MIDDLE    AND    LATER    BRONZE    AGE 

Sitk'  hy  side  with  genuincl}'  Babxionian  cxlinders,  imitations  are 
found,  in  several  rude  local  styles,  which  ma\'  belong  either  to 
Cxprus  itself,  or  to  the  neighbouring  mainlands  of  North  S\Tia 
and  Asia  .Minor,  where  such  cxiinders  are  not  uncommon.  Some 
of  the  best  of  these  barbaric  copies  are  in  hard  stone,  but  the 
majoritx'  are  in  steatite. 

A  small  but  definite  class  of  these  non-Babylonian  cylinders  shows 
Egx'ptian  influence.  On  these  seals,  as  on  Egxptian  scarabs, 
which  are  occasionallx'  found  in  C^xprus  in  tombs  attributed  to 
the  Later  Bronze  Age,  the  engra\ing  is  wholl\-  hand-cut,  without 
an\-  drill.  All  the  lines  and  spaces  are  sunk  to  one  plane,  and  in 
the  best  work  their  sides  are  nearl\'  \ertical,  as  in  full-sized  hiero- 
ghphs:  \'-shaped  cutting  and  concavities  of  variable  depth  mark 
non-I{g\ptian  imitations.  Cylinders  thus  engraved  in  Egvp- 
tian  St  vie.  or  in  imitation  of  it,  are  rare  in  (Cyprus.  In  Egvpt 
itself  the  common  use  of  cviinder-seals  ceased  \erv  earlv,  about 
the  I\'  Dvnastv,  but  thev  are  found  more  rarely  at  all  periods 
down     to     the    xxvi.  It     is     probable,     however,     that     these 

cvlinders  are  not  of  Egyptian  work,  but  represent  a  local  fabric, 
either  in  Cvprus,  or  on  the  Svrian  coast,  where  Egyptian  influence 
was  strong  from  1500  to  1200  B.  C 

4304.  Cylindlr  of  White  Steatite  engraved  with  a  hawk- 
headed  deitv  in  Egyptian  kilt,  holding  a  lotos-crowned  stafT. 
Before  him  are  four  Egvptian-looking  svmbols  perhaps  upside 
down.  In  a  separate  compartment  is  an  inscription  (see  Ap- 
pendix) and  above  and  below  are  ladder-borders.  Ihe  work, 
though  rough  and  whollv  linear,  is  deep  and  clear,  and  of  mark- 
edlv  Egvptian  stvie.       Cvprus,  PI.  xxxii.   12.  Ill,  cxviii,  7. 

4^0t.  (]^li\1)er  01-  Black  Sti-.atite,  engraved  with  a  man  in 
Egvptian  kilt,  standing  between  three  leat'-shaped  objects 
and  a  crescent-and-disc.  This  principal  scene  is  bc^unded 
bv  a  narrow  panel  filled  with  a  lotos-spray.  The  work,  though 
rough,  is  firm  and  betravs  habitual  simplification  in  a  trulv 
linear  stvle.         (Cvprus,  PI.  xxxi,   11.  Ill,  cxx,  N. 

4306-7.  (Alinders  or  Black  Stlamtl,  engraved  verv  carelesslv 
with  outlined  and  dotted  patterns  which  seem  intended  to 
represent     lotos-ornament.       The    subject,     and     the    shallow 

4^2 


OIIIIR    ORIHNTAL    CY  I.IN  1)1- KS 

linear    Irealmonl,    assif^n    these    harbarie    imitations    to    the 
Eg\  ptian  school.         (^\prus,  PI.  .x.xxii,  id  (43<)()). 

Ill,  cxx,  7  ('4307),  c)  (4306). 
A  second  non-Bab\lonian  group  is  akin  to  the  Hittite  or  S\  ro- 
Cappadocian  art  of  the  Asiatic  mainland  nearest  to  (^\  priis.  These 
"Hittite"  c\iinders  LisLiall\'  bear  representations  of  deities,  and 
mythological  scenes,  which  are  sometimes  elaborate.  The  design 
is  generall}'  di\ided  into  a  "principal  scene,"  occupying  rather 
more  than  half  the  surface,  and  a  "back-scene,"  of  less  importance, 
sometimes  arranged  in  se\eral  tiers,  or  short  zones,  and  occasionally- 
including  s\mbols  or  linear  characters.  The  back-scene,  in  fact, 
replaces  the  inscribed  portion  of  the  Babylonian  c\  linder. 
The  st\le  of  these  Hittite  c\linders  shows  a  distant  af(init\'  with 
that  of  Bab\T)nia,  but  the  modelling  is  rounder,  the  figures  show- 
much  more  life  and  xigour,  and  the  details  of  pose  and  costume 
resemble  those  of  Hittite  sculpture. 

430(S.  Cylinder  cjf  Hah.ma'mti-,.  The  principal  scene  shows  a 
god  and  a  goddess,  armed  with  pennoned  spears  and  thunder- 
bolts, confronted,  with  their  loes  between  them:  a  lion,  below, 
is  speared  b\'  the  god  and  looks  back  at  him;  aboxe,  a  gril'fm 
with  human  arms  and  legs  (perhaps  a  masked  \-otar\-  like 
1020-31  in  the  (>)llecti()n  of  Sculpture)  flees  from  the  thunder- 
stroke of  the  goddess.  The  god  is  bearded,  and  wears  tunic, 
short  kilt,  sword-belt,  and  pointed  helmet  with  horns  and 
winged  knob.  The  goddess  has  wings,  long  \i'st  and  cloak, 
hea\-ily  fringed,  and  smooth  pointed  helmet.  The  back 
space  is  in  three  tiers:  an  ox-head  abo\e  a  rope-border,  then 
two  birds,  ami  a  lion  seated  so  as  to  bakince  the  lion  in  front: 
a  half-unconscious  ad\ance  towards  ihe  more  subtle  composi- 
tion which  is  ch;iracterisl  ic  of  the  (  a  pro-.\l  \  cen:iean  c\  limlers 
4312-24  below.  \'er\-  j-trecise  \  igorous  work,  ol  llillite  sl\le; 
but  the  goddess  ri'c:dls  ihe  figures  on  one  of  the  finest  ol  the 
Idaean  siiields,  from  (j-ele,  and  the  grillin  has  a  pi'acock's 
cri'st  liki'  the  .Minoan  griffins.  Ill,  cx\iii,   11. 

450().  C'li.iN-DiK  01  llAr.MAiiii.  In  the  |ir:iuiji:d  scene.  ;i 
winged  de:l\  in  liorm-d  caji  sunuhng  on  ;i  serpent,  holds  a 
wre;it  h  in  one  h;ind.  ;ind  olfrrs  in  l  he  oi  lur  ;i  h;ire  to  ;i  godiless 
in  clo;dv  ;ind  [loinled  injmel  (like  -j',oS)  who  h(ilds  a  tlowcr. 
In  the  b;iLk-sicnr,  liic  llillile  dtil  \  Sandon  in  pouiled  .ap 
slJiiids  on  ;i  hull.  ;ind  i-M;indr  Iks  ni;u  r  and  sr(|)lrr.  lirforr 
him   stands   :i    \ofar\,    bilow    whom    are   three   iiunian    heatis. 

4 '.  '. 


rm-:  collici  ion  of-   cYLiNniiRs  and  shal-stones 

Between  ,u<)cl  and  \()Iar\-  is  an  allar.  Ihis  God-on-the-Bull 
is  well  known  in  llittite  seuliMure.  His  worshipper  is  no 
doubt  a  \iclorious  ehief,  whose  \ielinis  lie  below.  Softer  and 
less  vigorous  work  than  430N,  but  of  definitely  Hittite  style. 
C\prus,  PI.  xxxi,  7.  Ill,  cxviii,  9. 

4310.  C'CLiNDHR  OF  Ha i-.M ATiTH.  In  the  principal  scene,  the 
Oriental  Uerakles,  in  lion-skin  and  bell-shaped  cap,  contends 
with  a  human-limbed  gritifin  for  a  column  with  floral  capital. 
The  goddess  Ishtar,  in  bowl-shaped  cap,  looks  on.  The 
back-scene  is  in  three  tiers:  a  lion  and  bull  fighting,  a  large 
coil-pattern,  and  a  sacred  tree  guarded  by  recumbent  ibexes. 
Fair  work  but  without  \igour  or  movement.  (Cyprus,  PI. 
xxxi.  6  (inaccurate).                                                        Ill,  cxx,  10. 

4311.  CvLi\i)i:R  OF  Hah.matite.  In  the  principal  scene,  a  hero, 
bare-headed  and  bearded,  in  short  tunic,  confronts  an  erect 
lion  behind  which  is  another  personage,  perhaps  Ishtar,  looking 
on.  In  the  back-scene,  a  spread  eagle  hovers  between  a  lion 
and  an  ibex,  which  run  down  \erticall\';  the  latter  is  held  b_\' 
the  hind-leg  in  the  right  hand  of  the  hero.  .Aboxe  are  fi\e 
linear  characters  iV^'O^  which  seem  to  be  in  an  early  form 
of  Cxpriote  script.  The  nearest  characters  of  later  date  would 
read  ti-ro-e-na-si  or  in  the  reverse  order  si-na-e-ro-ti.  As  the 
signs  happen  to  be  all  svmmetrical,  there  is  no  clue  as  to  the 
right  direction.  The  work  is  rough  but  \igorous,  and  approx- 
imates to  the  C\pro-.M\ccnaean.  Ill,  cwiii,  4. 

CYPRO-.MYCENAEAN    CYLINDERS,     LATER    BRONZE    AGE 

It  might  ha\e  been  expected  that  the  western  people  who  colon- 
ized C\prus  in  the  Later  Bronze  .Age  would  ha\e  introduced  the 
lentoid  and  spindle-shaped  "island-stones"  which  are  character- 
istic both  of  Late  .Minoan  CTete.  and  of  the  .Mycenaean  mainland. 
These  seal-stones,  howe\er,  ha\e  not  been  found  in  (]\prus,  and 
e\'en  unengra\ed  beads  of  lentoid  shape,  like  3143,  are  \ery  rare 
there.  In  their  place  stands  a  distinct  class  of  c\linder-seals, 
engra\ed  in  a  rich  mixed  st\le,  compounded  of  .Mxcenacan  and 
Oriental  elements,  with  man\'  traces  of  Kg\ptian  influence,  and 
some  at1]nit\-  also,  in  the  later  phases,  with  the  earliest  art  of  Ass\Tia. 
These  "C\pro-.M\'cenaean"  cylinders  are  exceptionallx'  well  repre- 
sented in  this  Collection. 
The  designs  on  these  seal-stones  are  often  ver\'  ingeniouslx"  com- 

4M 


4302 


4304 


43  o8 


43" 


4313 


4324 


THI-:  coi.i.i-ci  ION   oi-   (.Yi.iNi)f;KS  AND  SI: A i.-s  1  ON i;s 

plicalcd;  the  ;iim,  as  in  all  good  seal-cngraxing,  bciiif^  to  treat  a 
popular  and  intelligible  niotixe  in  so  indixidual  a  \\a\'  that  identi- 
fication shall  be  eas\-,  but  forger)'  diflieult.  L'suallv  the  design 
is  continuous  so  as  to  repeal  itself  harmoniouslx';  but  as  on  the 
S\ro-(]appadocian  c\iinders  (to  which  this  group  stands  nearest 
in  its  methods  of  composition)  a  principal  scene  ma\'  be  distin- 
guished. This,  ho\ve\  er,  is  not  isolated,  but  most  ingeniously' 
connected  with  the  back-scene;  and  sometimes  there  are  three  or 
four  ni()ti\'es  in  the  composition,  each  with  itsoun  axisof  s}'mmetr}'. 
b'or  example,  in  4314  the  lion  which  is  held  hv  the  woman  in  the 
principal  scene  is  himself  one  of  the  principals  of  a  confronted 
pair,  and  the  recumbent  ibex  o\'er  which  these  two  lions  rage  is 
balanced  b\'  another  ibex,  on  which  again  the  gritfin  which  balances 
the  first  lion,  in  the  woman's  other  hand,  stands  to  attack  this 
second  lion,  which  thus  becomes  the  central  figure  in  a  convergent 
group  of  five.  In  the  same  wa\' 433  i  shows  a  man  struggling  between 
a  griffin  and  a  lion,  but  by  in\'erting  the  lion  it  is  brought,  in  the 
back-scene,  into  a  foot-to-foot  group  with  the  griffin,  and  in  4319 
the  lion  in  one  hand  of  the  woman  attacks,  round  the  back  of  the 
cxlinder,  a  bull  which  lies  under  the  other. 

The  execution  \'aries  from  a  "\'igorous"  st\le  closelx'  related  to 
Late  .Minoan  engraxing,  through  a  "roughened"  technique  in 
which  detail  and  textures  are  exaggerated,  to  a  thin  "angular" 
treatment,  which  in  turn  passes  over  into  the  purely  "linear" 
st\le  of  the  CJeometric  Period. 

43  I  2-1  S.      (^YITiO-MYCHNAHAN  CvLINDliRS  OfViGOROL'S  StYLH,  with 

the  bodies  of  the  animals  roundlx'  and  smoothl\'  modelled,  with 
plenty  of  detail:  the  e\e  is  small,  and  its  orbit  of  irregular 
and  almost  natural  shape:  4312-13  arc  of  steatite;  4314-15  of 
haematite. 

4312,  a  seated  woman  in  .Minoan  skirt  and  jacket,  and  cur- 
iouslx'  coiled  hair  rather  like  the  Hittite  fashion,  holds  b\' the 
tail  a  seated  griffin  with  plunuxi  head.  Behind  her  is  a  small 
lion  running  verlicall)'  downwards,  with  its  hind  legs  extended 
in  the  regular  Alx'cenaean  st\le.  The  linear  object  in  front 
of  the  woman's  head  is  probablx'  part  of  her  high  chair-back. 
Precise  detailed  work,  with  great  \ariet\'  of  handling.  C^)'- 
prus,  PI.  xxxi,  9.  Ill,  cxix,  7. 

4^13,  a  lion  and  a  sphinx  ccjnfrontetl,  erect;  an  ibex  lies  down 
between  them;  behind  are  a  bull's  head,  crescent-and-tiisc, 
and  three  dots,  instead  of  a  back-scene.  Ill,  cxix,  8. 

436 


(:YPRO-MV(,i:NAhAN    (.YLINDHRS 

4314,  a  woman  in  M\ccnaean  bell  and  skirt  holds  a  lion  and 
a  griffin  b\-  the  tail.  The  lion  is  confrontoil  with  another  lion; 
the  griffin  mounts  on  a  recumbent  goat,  and  attacks  this  second 
lion  from  behind;  between  the  two  lions  is  another  recumbent 
goat.  Ill,  cx.\,  12. 

4315,  a  woman  in  Mxcenacan  dress  and  peculiarlx'  coiled  hair 
as  on  4312  holds  an  inxerted  ibex  in  each  hand;  between  them, 
at  the  back,  is  a  large  raxed  rosette  above,  and  a  recumbent 
ibex  (damaged)  below.  'I"he  texture  of  the  animals  is  ren- 
dered b\'  a  rather  exaggerated  roughening,  which  marks  the 
transition  to  the  next  phase  of  style.  Ill,  cxx,  5. 

In  the  "roughened"  st\le  exaggerated  emphasis  is  gi\en  to  the  hair 
or  fur  of  the  beasts.  Their  limbs,  ttxj,  are  thin  and  ill-modelled; 
their  eyes  large,  and  surrounded  hv  a  circular  area,  drilled  quite 
smooth,  and  often  covering  the  whole  head. 

4316-19.  Cvi'R()-.Myci-\aiiA\  Cvi.im)1;Ks  of-  RoighumiD  St">le, 
all  in  haematite,  which  ma}'  in  part  account  tor  their  peculiar 
technique. 

4316,  a  woman  in  the  same  dress  and  coiled  hair  as  on  4315, 
holds  an  in\erted  ibex  in  one  haiul.  On  her  other  siile  are  an 
ibex  abo\e,  a  lion  below,  and  a  rosette  and  crescent-and-disc: 
in  the  field  are  also  signs  which  resemble  the  (^\priote  char- 
acters pa  and  e.  Ill,  cx\iii,  to. 

4^17,  a  fine  "ra\ed-column"  of  characteristic  form,  which  in 
this  st\le  seems  to  pla\'  the  part  <if  the  Oriental  "sacred  tree"; 
then  a  goat's  head,  close  to  the  colimm;  in  the  lieUl  urv  a  v\a\\- 
line,  three  ,S-spirals,  ami  perha[is  the  (Cypriote'  characters 
pa  and  la;  but  the  latter  ma\  be  simiil\  "  lilling-ornamenls," 
such  as  become  \'er\-  comnion  on  tln'  later  and  more  barbaric 
c\linders.  (hoarse  work,  marred  b\'  excessi\e  use  ol  a  large 
drill.  Ill,  cx\ni,  (). 

4  5]S,  a  lion,  full-face,  pursiU's  a  goat;  abo\e  the  lion  is  an 
ox-head,  with  disc  bit  ween  lis  horns,  and  abo\e  this  a  lour- 
winged  disc:  abo\r  ihr  ,^oat  a  doc  parlh'  inxertetl  is  attacked 
bv  another  lion.  wiioiU  iincrtci!.  Note  ihr  l,u\[itian  moti\rs 
of  solar  dise,  aiul  disc  uilhin  horns,  a  urll-known  llalhor- 
s\inbol;  the  bold  cxpcrinienl  o!  the  full-faicd  lion;  .ind  ihc 
crowded  inc(jhrri-ncr  of  the  whole  conijiosii  ion.  K'ibbed 
work,  dums\   and  coarse.  I  I  I ,  i  \\,  4. 

4'>7 


Tin;    COlllCnoN    Ol-    C.^LlNDliRS    and    si  Al.-ST()Ni;S 

4^i().  a  woman  holds  hv  tiie  tail  a  rampant  lion,  wliich  socms 
to  haw  pullotl  down  a  horned  animal:  this  animal  lies  under 
the  other  hand  of  the  \\\)man;  an  ingenious  combination  of 
two  I'amiliar  designs.      Ribbed  work,  ver\'  slight  but  vigorous. 

Ill,  e.xix,  5. 
In  the  "angular"  sl\le  the  bodies  become  thin  and  angular,  the 
crt)w-ribbing  broader  and  less  imiformly  spaced,  and  the  drilled  e}'e 
has  no  longer  an\'  tlat  area  around  it.  This  degenerate  phase  passes 
o\er  into  the  barbaric  linear  or  geometrical  st\le  of  4329  ff. 

4320-4.     C^^  i'R{)-.Mvci-\A[;.\N  (I'l  lindi-;ks  of  .-\ngilar  Stvlh,  all  of 
steatite. 

4320,  spread  eagle,  ibe.x,  fish,  open  hand,  and  six  dots.  Smooth 
work  but  coarser  than  the  best  examples.  In  spite  of  the 
incoherence  of  its  elements,  wherein  it  is  the  counterpart  of 
4318,  the  whole  scheme  has  some  decorati\e  \alue.  Cyprus, 
xxxiii,  24;  .Menant,  CJl\ptic]ue,  II,  fig.  243.  Ill,  cxix,  14. 

4321,  ra\'ed  column  with  two  pairs  of  xolutes,  adored  b_\'  a 
woman,  behind  whom  is  a  seated  lion,  adoring  also,  with  raised 
paw.  In  the  field  abo\e  are  a  flower  and  a  rayed  disc. 
Slightl\'  ribbed  work,  rather  rough.  Ill,  cxx,  13. 

4322,  ra\ed  column,  with  basal  \-olutes,  adored  b_\'  a  woman  and 
a  seated  lion;  behind  is  an  ox-head  abo\e  a  smaller  column; 
corrugated  work,  \er\'  roughl\-  executed.  C^.xprus,  PI. 
xxxiii,  2s.  Ill,  cxx,  1 1. 

432^,  a  bearded  man,  in  short  tunic  and  pointed  helmet,  seizes 
a  goat  and  a  lion,  both  erect.  He\ond  the  lion  is  a  ra\ed 
column  with  two  pairs  of  \olutes,  and  a  bull's  head  in  the 
field;  be\-ond  the  column  is  a  bull's  head  abo\e,  then  a  fl\'ing 
bird;  a  standing  bird  below.  Smooth  work,  with  rather 
excessi\e  use  of  the  drill.  Ill,  cxx,  2. 

4324,  a  man  extends  one  hand;  two  open-mouthed  lions  spring 
upon  a  large  bull,  of  which  onl\-  the  head  and  hind  c]uarters 
are  clearl\-  seen.  In  the  field  is  a  double  axe,  perhaps  the 
protot\pe  of  the  ingot-s\mbol  on  the  geometrical  cylinders. 
(]\prus,  PI.  xxxiii,  27.  Ill,  cxx,  15. 

4325-(S.     Cvi'Ko-Ah'ci  NAEAN    (htixDHRs    of    \arious    degenerate 
st\ies:  all  of  steatite,  like  the  preceding  group. 

4325,  a  man  in  belt  and  kilt,  up-turned  shoes,  and  coiled  hair 
like  4312,   between   a  seated  goat  and  an  ox-head  with  disc, 

418 


CY  PRO- MYCENAE  AN    CYLINDERS 

above  an  ingot:  the  latter  is  \er\-  well  characterized,  with 
four  corners,  and  a  central  hole.  Between  man  and  goat  is 
an  S-spiral.  Sparsel}'  ribbed  work,  with  simplified  detail. 
Cvprus,  Pi.  xxxiii,  30.  Ill,  cxix,  4. 

4326,  a  man,  l"ull-face,  in  belt  and  high  cap,  holding  a  spear, 
between  a  seated  griffin  and  an  ibex;  abo\-e  a  crescent-and- 
disc,  and  an  ox-head.  Disjointed  work,  in  transition  to 
linear.  Ill,  cxix,  13. 

4327,  a  ra\ed  column,  half  transformed  into  a  rudeh-  natural- 
istic palm  with  six  fronds,  adored  b_\-  an  ibex  and  a  goat.  Be- 
hind is  a  second  goat  also  adoring,  with  a  crescent-and-disc, 
an  ibex-head,  and  a  cross,  and  two  other  symbols  in  the  field. 
Vigorous  work,  but  much  more  linear  than  the  preceding. 
C\-prus,  PI.  xxxii,  13.  Ill,  cxviii,  8. 

4328,  a  column  with  two  pairs  of  \olutes  but  no  ra\s,  between 
an  ibex  and  a  bird,  abo\c  which  is  another  bird  or  a  fish; 
behind  is  a  spread  eagle,  towards  which  the  bird  and  ibex 
look.  The  form  of  the  column  seems  to  be  transitional  from 
the  ra\-ed  t\pe  to  the  ordinary  "sacred  tree."  (]\  prus,  PI. 
xxxii,  28.  Ill,  cxix,  12. 

CYLINDERS    OF    BARBARIC    AND    GEO.METRICAL    SIYLES 

The  cylinders  which  follow  show  (]\  pro-.\l\cenaean  art  rapidh' 
degenerating  into  an  almost  purel\-  linear  st\  le;  at  the  same  time 
the  s\-mbolic  meaning  of  the  designs  is  fading,  and  the  figures  and 
scenes  are  re-interpreted  in  a  ptirel\'  naturalistic  sense,  l.ions  and 
griffins  become  rarer;  trees,  birds,  and  goats  more  common;  the 
stag  appears  alongside  of  the  ibex;  snakes,  scorpions,  and  an  oc- 
casional crab  appear.  I  he  crescent-and-disc,  ra\ed  orb,  star, 
and  ox-head  are  si  ill  po[nilar;  and  the  ingot-s\mbol  becomes 
common.  One  whole  school  of  cngraxing  is  characleri/ed  b\'  its 
fondness  for  numerous  orbs,  simplified  to  a  single  circle  with  centre- 
point.  -Sarti  and  haematite  are  still  in  rarr  usi',  but  the  large 
majoritN'  of  tin-  c\linders  are  now  of  steal  it  e. 

4329.  C^YIJNDI.K  or  Saki),  engra\ed  with  a  man  in  I'gxplian  kilt 
standing  beturi'ii  a  reiimibent  goat  and  a  sratrd  sphinx. 
Behind  is  a  smaller  man  holding  a  mace;  in  the  field  are  two 
fleing-hsh  and  a  pap\rus  flower.  1  he  hgvptian  touches  are 
nf)tt'Worth\',   but    though    the   bodies   of   the  aiiiniaK   are   still 


TH1-:  coi.i.ic.rioN  OF  (;Yi.iNni;RS  and  si-al-ston'hs 

rounded,  ihe  rest  of  the  Nsork  is  angular  and  still',  with  exces- 
si\e  use  of  the  drill,     (.\prus,  PI.  xxxi,  <S.  Ill,  cxix,  9. 

4330.  (I'iLiNDi;R  oi-  1  lAi-.MAirn-.,  engra\ed  with  two  robed  figures, 
who  adxaiKe  with  raised  arms  towards  a  sacred  tree  which 
springs  from  an  ox-head  Between  them  is  a  leaping  goat; 
and  b\'  the  tree  two  obscure  sxmbols.  The  surface  is  much 
damaged  but  the  work  itself  is  careless  and  \ague.  The  man- 
and-tree  scheme,  which  has  here  replaced  the  rayed  column, 
becomes  \er\'  popular  later.  III.  cxx,  6. 

4331-2.  C^'iLiNDHKS  OF  Sti-;atith  with  some  Oriental  touches, 
though  the  engra\ing  is  mainly  geometrical. 

4331,  a  human  tigure  in  Oriental  robe  pursues  a  grihin,  which 
forms  a  foot-to-foot  group  with  a  lion  placed  on  the  other  side 
of  the  man.  0\er  the  lion  are  a  raxed  orb  and  three  dots. 
Though  the  figures  are  clearlx'  posed,  the  work  is  star\ed 
and  angular.         C]\  prus,  PI.  xxxi,  to.  Ill,  cxix,  15. 

4332,  two  robed  men  approach  each  other;  between  them  is 
a  lion  erect  but  inx'erted;  in  the  back-scene  are  two  goats, 
set  trans\'ersel_\',  an  ox-head,  and  a  snake  below  it.  Quite 
\'ague  work,  mainly  linear,  transitional  to  the  geometrical 
stx'le.  Ill,  cxx,  3. 

This  "linear"  or  geometric  st_\Ie,  barbaric  as  it  is,  has  yet  a  dis- 
tinctive character,  [founded  outlines  and  broad  surfaces  are  almost 
wholly  displaced  b\'  V-shaped  grooxes,  wider  and  deeper  for  the  more 
emphatic  strokes;  and  all  curves  are  summed  up  in  angles  of  90° 
and  45°.  Some  engravers  still  emplo\-  a  rexohing  drill,  and 
a  tubular  drill  for  the  circles,  which  are  conspicuous  in  some  of 
the  designs;  others  cut  these  circles  b\'  hand,  and  quite  irregularly. 
This  was  eas\' enough,  for  steatite  is  the  onl\' material  in  this  class, 
and  often  of  \-er\'  soft  qualitw  The  dearth  of  metal  caps 
like  3144  to  protect  the  ends  from  damage  is  betra\'ed  bv  4345, 
4351,  which  ha\e  their  caps  imitated  in  the  steatite  itself. 

4333-57-  (>vi-i\Di:RS  of  Stfatitf,  engraved  in  quite  geometrical 
st\le,  with  groups  of  objects  which  occasionally  form  scenes, 
of  hunting  4 V35.  43S(>,  or  \\(-rship  4341-5,  or  groups  of  h.uman 
beings  round  sacred  trees  4  5  ^7-41 ,  or  tending  animals  4347, 
or  otherwise  engaged  4336;  or  groups  of  animals,  heraldic 
4346,  or  in  combat  4344.  (Jnl\-  on  4352  are  single  animals 
set  in  separate  framed  panels.  But  more  often  the  connection 
between  the  figures  is  not  obxious,  and  many  of  the  smaller 

440 


BARBARIC    AND    GEOMETRICAL    STYLES 

objects  are  themseh'es  not  easily  recognizable.  The  com- 
monest figures  in  this,  as  in  the  preceding  group  of  transitional 
designs,  are  man,  goat,  ibex,  lion,  and  tree:  rarer  are  griffin 

4326,  432(),  4331,  4336;  bull  43 so;  stag  4VH.  4M0;  spread 
eagle  432.S,  4333,  4335;  bird  4328;  snake  4332-4VM;  <ish  4320, 
4335;  scorpion  4334,  43.3('.  4^1);  crab  4333;  flo\\er  432().  Other 
common  objects  are  the  ra\ed  disc  4331,  4^^3,  4^4(>:  crescent 
and  disc  4326-7;  disc  alone  432s,  4347-50,  star  4335  or  cross 

4327,  4333;  S-spiral  4321;  "ingot"  or  double  a.xe,  four-square 
with  concaxe  sides  4325,  4340,  4342-4,  434(S-q;  dagger  4^44, 
43 so;  and  a  line  with  two  cross-bars,  4347,  4352,  which  has 
been  taken  for  the  (^x'priote  character  pa,  but  more  probabh- 
represents  foliage,  horns,  or  other  details  of  the  design.  De- 
tailed description  of  such  designs  is  of  little  use;  especialls' 
as  they  are  all  figured  in  Atlas  111,  and  man\'  of  them  in  Cyprus, 
as  follows: 


Alias  in 

('ypnis 

All, 

as  in 

(Cyprus 

4^33. 

cxxi. 

3- 

xxxiii, 

2<) 

4347, 

cxxi, 

(). 

4334. 

— 

4- 

xxxii. 

i() 

4346, 

— 

13- 

4335, 

-- 

0. 

xxxii. 

i<S 

4547. 

cx\iii 

2, 

43  3 '^ 

— 

10. 

434'^, 

cxxi. 

1. 

xxxii,    21 

4337. 

14. 

4340, 

cxxi, 

2. 

433'"^. 

- 

3  • 

xxxii. 

14 

4  3  5", 

cxx. 

1 . 

xxxii,    17 

4339, 

— 

I  I. 

4351, 

cxix. 

I  1. 

434". 

-  - 

S. 

xxxii, 

1 T 

4352, 

cxix. 

2  _ 

xxxiii,  32 

4341. 

1  i- 

xxxii. 

20 

4353. 

cxix, 

10. 

xxxiii,  3 1 

4342, 

cxix. 

3- 

4354-7 

ha\e  t 

heir 

engraving 

4345, 

cxxi, 

/  ■ 

xxxin', 

2() 

almost 

worn 

out. 

4344. 

1  2. 

( ,\  [H'U: 

^,  PI. xxxiii, 

2]  (4357')- 

The  c\linder  4^48  is  {published  in  .Menanl,  Cilypliqiic  Orioi- 
talc,  11,  fig.  242;  and  }352  in  hg.  24.1. 
_j3vS-C).  (hi.iNm.K^  IN  (jiAK'-i.  Will  I  I,  Pa^m  ;ire  occasi()n;dl\- 
fouiiil.  '1  hr\-  Were  [irob;dil\'  iiilcndrd  lo  hv  ghi/eil,  in  iniilat  ion 
of  l-g\  [tli;!!!  --r;ds,  but  tluTr  is  not  niu^  h  lli:it  is  h.gx  pti;in  about 
their  f:diric  or  sixK-.  I  heir  d;ilr  is  (|uite  uiKcrlain,  but  is 
[irobabh'  iiol   \cr\   r;irl\'. 

4^5S.       I\\(i  nicii  ill  ()rirnl;il  robes  adore  a  sji  red  tree;  behind 
is  a  griflin. 

4350-      ^i>;   hsh,    two   abrcas:;   btiow   is  a    killuc,    prob;ilM\-   lo 
rt'presrnl  ;i  nd. 

.l.Jl 


THi:  (.()Lli:c;tion  of  cylinders  and  seal-stonhs 

P'inall\'  one  wrv  curious  example  seems  lo  indicate  that  in  some 
quarters  (perhaps  in  Cjlicia)  the  use  of  engraved  c\'linders  persisted 
to  much  later  times.  Another  cylinder  in  the  Museum  also  of  hae- 
matite is  e\en  of  Hellenistic  st\le.  ln\entory  No.  193.  3;  I'urt- 
wangler.  A}iiike  Gc»ii)u'n,  11,  hi,  7. 

4^60.  (^'ilind[-:r  of  Mahmatith  engra\ed  with  two  rohed  figures, 
apparentl\-  a  man  and  a  woman,  but  the  upper  part  of  the 
latter  is  damaged.  The)'  stand  confronted,  the  man  carr\ing 
a  crooked  staff  and  some  other  object,  and  wearing  what 
seems  to  be  Oeek  dress  of  short  tunic  and  cloak.  Between 
these  two  figures  are  two  goats'  heads  and  a  star;  but  perhaps 
this  is  the  back-scene,  for  the  other  half  of  the  cylinder  is 
occupied  b\-  a  tree  from  which  the  two  figures  look  awa\', 
though  in  a  sense  the\'  attend  it.  The  tree  has  a  lotos  top 
and  natural  foliage  \'cr\'  gracefully  drawn;  on  its  lateral  scrolls 
ho\er  four  birds,  and  a  rosette  and  se\'cral  dots  are  in  the 
field.  The  onl\'  near  parallel  to  the  st\le,  in  this  Collection, 
is  otTered  b\-  the  foliage  on  the  crxstal  bead-seal  4^Sq.  C\-- 

prus,  PI.  .\x.\i,  5.  Ill,  cxx,  14. 

CONICAL,     DO.MHD,    AND    OTHER    ORIENTAL 
SEAL-STONES 

Side  b\'  side  with  the  cxiinders,  seals  with  a  single  Hat  or  con\ex 
surface  for  stamping,  not  for  rolling,  were  commonlx'  used  through- 
out the  Nearer  East.  Babxlonian  and  Ass\rian  seals  of  this 
class  are  usually'  of  the  same  hard  stones  as  the  cylinders,  and  for 
the  most  part  uniforml\'  conical  in  shape;  but  on  the  Sxrian  coast 
and  in  .Asia  .Minor  steatite  is  customary,  and  the  forms  \'ar>'  greatl\', 
from  conical,  domed,  or  pxTamidal,  to  flat  gable-shaped  beads,  per- 
forated length wa\s.  Characteristic  of  Hittite  seals  but  not  con- 
fined to  them  is  the  thick  circular  cushion-shape,  engra\ed  on  one 
or  both  of  its  con\ex  surfaces.  There  can  be  little  doubt  that 
these  seals  and  the  c\iinders  were  in  fashion  together  for  a  long 
time,  as  the  st\ie  of  engra\"ing  is  often  identical;  but  the  domed 
seals  seem  io  begin  in  the  Cjeometrical  F^eriod.  and  go  on  long  enough 
to  influence  the  earliest  scarabs,  and  be  influenced  b\  them. 
Nearl\-  all  thr  objivts  in  this  and  the  following  sections  (as  far  as 
4445)  which  ha\e  no  .Atlas  references  were  formerl\-  kept  apart 
from  the  rest  of  the  (A'snola  Collection,  and  probabl\-  represent 
purchases  made  in  (^\prus,  but  without  indication  of  Cxpriote 
origin. 

442 


CONICAL,    DOMED,    AND    OTHHR    SEAL-SIONHS 

4361-3.  Conical  Seals  of  Hard  Stone  perforated  for  suspension, 
and  engraved  on  their  convex  base:  compare  the  seal  on  finger- 
ring  4138. 

4361,  chalcedony:  two  prancing  goats,  set  heraldically  across 
each  other:  coarse  but  smooth  work. 

4362,  agate:  a  bearded  figure  in  long  fringed  robe,  holds  a  stag 
by  the  horns:  above  is  a  fl\'ing  bird:  careful,  vigorous  work  in 
Assyrian  st\le. 

4363,  haematite:  a  bearded  sphinx,  walking;  a  lotos  in  front: 
the  work  seems  to  be  later  than  4362  and  belongs  rather  to 
the  Mixed  Oriental  style. 

4364.  Button-Seal  of  Chalcedony,  with  o\'al  face,  fourfold 
moulded  edge,  and  a  bird's  head  (much  damaged)  at  each  end; 
a  worshipper  stands  before  a  seated  dcit\-  who  wears  a  high 
cap;  above  is  a  crescent;  poor  work  in  the  smooth  shallow- 
style  which  persists  till  Graeco-Roman  times. 

4365-8.  Button-Seals  of  Steatite,  with  distinct  prominence 
perforated  for  suspension. 

4365,  square,  with  square  moulded  prominence,  which  has 
been  broken  and  re-perforated:  seated  deit}',  with  a  scorpion 
in  front  and  two  upturned  crescents  above:  imitated  from 
Bab}lonian  style,  and  not  far  from  the  workmanship  of  4384-5. 

4366,  square:  within  a  square  border  a  bull's  head  with  up- 
turned crescent  between  the  horns:  angular  barbaric  work. 

4367,  circular:  within  a  border,  a  double-star  ornament  which 
mav  be  intended  for  two  human  beings.  Ill,  xxxii,  10. 

4368,  circular:  sacred  tree  (?)  with  upturned  crescent  at  the 
top:  ra\-cd  disc  and  cluster  of  dots  (iierhaps  sun  and  stars) 
in  the  background. 

4369-72.  Conical  and  Do.met)  Si;als  oi-  Sii-atmt.  with  xarious 
st>-les  of  engra\'ing.  4370  is  domed  and  has  a  triple  moukied 
edge.  4-5()(),  a  horned  animal,  tree,  crescent  and  disc,  etc.; 
much  rubbed.  HI,  xxxii,  1  ]. 

4370,  running  animal;  bird  abo\e,  scorpion  below  :  ruck'  angular 
work  like  the  cvlinders  4^25  ff.  Ill,  xxxii,   14. 

4371,  running  ibex  and  foliage  o\er:  in  a  sl\  le  like'  the  (Ixjui)- 
.\l\cenaean  :   formerlx' jxirt  of  the  necklace   1 54''^- 

i\irt  of  III,  cxi\  ,    ]. 

4372,  a  lion  faces  a  small  kneeling  or  running  ni;in:  |)er- 
haps  a  \ariant  of  the  common  Herakles  moli\e.  ()\ai:  lieavv 
work  in  .Mixed  Oriental  st\le.  HI.  xxxii.   iv 

44  3 


ruH  coi-i.ixn  ION  of  cylindiiks  and  shai.-stonhs 

4373-8.  Cjablh-shaphu  Si::y\Ls  oi-  Sti:atiti-:,  passing  over  into  the 
ova!  lentoid  or  "pluni-slone"  form. 

4373,  \erv-  large;  with  a  horned  animal  and  foliage,  obscurely 
rendered  within  a  rough  cable  border.  On  the  back  has  been 
scratched  a  gaming  board  of  squares  with  what  seem  to  be 
Arabic  numerals. 

4374,  two  ibexes,  walking:  unusually  flat  and  broad. 

4375,  running  stag,  in  purely  linear  style. 

4376,  circular:  fine  green  steatite:  two  bulls  back  to  back 
and  head  to  tail,  in  a  hea\\'  rounded  st}ie,  mostl}'  wrought 
with  the  drill. 

4377,  lion,  running;  in  angular,  but  not  purely  linear  style: 
the  stone  is  oval,  and  the  back  is  cut  away  in  two  lozenge- 
shaped  panels. 

4378,  stag,  looking  backward,  so  as  to  fill  the  broad  oval  sur- 
face; pale  steatite. 

4379-84.  FoL'R-siDED  Seals  of  Sthatith,  usually  engraved  on  all 
four  faces,  and  perforated  like  a  bead. 

4379,  engraved  on  one  face  onlw  recumbent  bearded  sphinx 
in  horned  head-dress:  a  rough  imitation  of  Ass\Tian  st\le; 
but  there  is  a  tree  in  the  background. 

4380,  broad  sides,  man  holding  snakes;  narrow  sides,  lotos 
tree  between  buds;  linear  st\le;  the  lateral  borders  arranged 
to  give  the  effect  of  a  built-up  bead. 

4381,  broad  sides,  sacred  tree,  and  scrawl  of  lines:  narrow  side 
plain. 

4382,  pale  steatite;  one  angle  is  damaged.  The  complete 
broad  side  has  a  quadruped  and  other  symbols,  perhaps  the 
C.vpriote  characters  zo.  ti:  on  the  narrow  side  is  a  worshipper 
before  a  cone-topped  incense  burner:  the  damaged  sides  show 
parts  of  animals. 

4383,  engraved  on  two  sides  onl\',  in  rude  imitation  of  Egyptian 
st\le;  man  and  feather-s\'mbol;  man  between  winged  uraeus- 
snakes. 

4384,  very  soft  steatite,  or  gre}'  cla\'  burnished,  nearly 
ecjuilateral:  ibex  and  upturned  crescent;  fish;  bearded  sphinx 
and  lotos  flower;  cock.  The  cock  casts  suspicion  on  an  object 
of  such  earl\-  st\le. 

4385.  l-'oi.K-siDi-u  P)l:tt()n-Shal:  the  perforated  knob  is  at  one 
end,  and  terminates  in  a  scarab;  on  the  other  end  is  a  recumbent 
ibex  with  two  trees  behind;  on  the  broad  sides  are  (i)  a  seated 

444 


436 1 


43Hy 


439" 


439  3 


442(' 


"IHH    COLLHCIION    OF    CY  LIN  DliRS    AND    SHAL-STONES 

bearded  man  witli  curled  hair  behind,  holding  a  lotos  sceptre, 
and  (2)  a  lion  with  tree  and  ereseent-and-disc;  on  the  narrow- 
sides  (^)  a  scorpion  and  a  small  tree,  and  (4)  a  bearded  man  in 
tunic  and  Hittite  cap,  hurling  a  spear,  between  two  trees. 
Ouile  black  steatite,  and  deep  clear  angular  st\le.  Similar 
seals  are  recorded  from  North  S\ria. 

45(S().  Fc)LR-:~ii)i-n  Si-.AL-Si()Ni--  \\ith  lateral  prominence  for  sus- 
pension set  like  the  toe  of  a  boot.  On  the  four  sides  are  human 
figures,  with  a  ra\ed  disc  below  on  the  back.  Linear st\le  in 
quite  black  steatite,  much  worn.  C\prus,  PI.  x.xxiv,  7 
(all  four  sides).  Ill,  xxxii,  11. 

43S7.  StHATiTF-:  PhNUANT  (?),  celt-shaped,  and  unusuall)'  large, 
perforated  at  one  end  and  engra\ed  on  two  sides  with  pairs 
of  concentric  circles,  and  on  the  lower  end  with  a  lattice. 

4388-c).  Cushion-shaped  Shal-Stones  of  lentoid  form  with  thick 
c\iindrical  edge. 

4^<S(S,  black  steatite:  bull,  flower,  and  ra\'ed  disc,  in  hea\\' 
st\!e  like  that  of  Hittite  seals;  on  the  back,  a  large  rosette: 
the  perforation  is  horizontal  to  the  design. 
4389,  cr\stal:  a  bird  sits  between  two  trees  c^uite  naturally- 
rendered,  like  the  foliage  on  the  cNlinder  4360.  The  back 
is  plain;  the  perforation  is  \ertical  to  the  design,  as  in  Ah- 
cenaean  seal-stones.  Ill,  xxxii,  8. 

4300-1.  ScARABf)U5  Seal-Stonhs  of  Steatite  with  rounded  back 
and  flat  surface. 

43QO,  winged  horse,  with  the  wings  spread  like  those  of  a  beetle 
above  and  below  the  bod\-;  crescent-and-disc,  and  raxed  discs, 
in  the  background.  The  stone  has  been  re-perforated  from 
back  to  front. 

4^t)i,  a  stag,  with  dappled  skin  rendered  by  dots,  is  attacked 
from  abo\e  b\-  an  eagle.  The  scaraboid  is  of  sixth-centur\- 
shape,  and  the  engra\-ing  is  a  late  phase  of  .Mixed  Oriental 
st\-le,  clear  and  xigorous.  Ill,  xxxii,  (). 

43(j2.  Hl-.man-hi-adi-.d  Bead  in  black  steatite,  apparentlv'  intended 
for  the  bearded  head  of  Eg\ptian  Bes. 

4]i)>,.  Hl-man-hiadi;d  Scaraboid  in  plain  gold  band-setting:  run- 
ning anin-ial  iii  linear  st\le  apparently  horned,  with  foliage  back- 
grcjund  and  plain  border.  The  head  on  the  back  is  in  .Mixed 
Oriental  st\-le  with  hair  rendered  by  lattice  work.      In  style 

446 


SCARABS     AND     SCARABOIDS 

and  probable  date  this  head  resembles  the  steatite  pendants 
in  the  shape  of  a  negro  head  1550,  3161,  and  the  bearded  head 
of  Assyrian  style  1551.     C\prus,  PI.  xxx\iii,  22.      ill,  xxxii,  7. 


SCARABS    AND    SCARABOIDS    OF    ORIENTAL 
AND    CYPRIOTE    STYLES 

With  the  introduction  of  the  Mixed  Oriental  st\le,  these  conical, 
domed,  and  round-faced  t\pes  are  graduall\-  replaced  b\-  o\al 
scarabs  of  Eg\-ptian  fashion.  The  "scaraboids"  4301-3,  in  which 
the  sides  rise  almost  verticall}'  from  the  oval  sealing  face,  to  a 
low  smooth  rounded  back  forming  a  parallel  series,  were  not  all 
intended  to  be  mounted  in  a  ring,  but  were  often  simplv  strung  on 
a  necklace.  As  the  engra\er's  skill  increased,  the  softer  steatite, 
i\or_\-,  and  gla7.ed  paste,  imitated  from  Eg\ptian  scarabs,  were 
discarded  for  agate,  carnelian,  jasper,  and  other  hard  stones. 
The  style  and  design  of  these  Orientalizing  seals  \ar\-  greatl>-; 
sometimes  Eg\'ptian  elements  predominate,  sometimes  .-\ss_\-rian. 
The  best  examples,  like  the  best  C\-priote  sculpture,  hold  an  e\-en 
balance  between  these  elements,  and  realize  that  .Archaic  Cypriote 
stx'le,  examples  of  which  are  described  abox'e  in  the  (Collection  of 
I-'inger-Rings. 

4394-8.  Scarabs  of  Steatite  Engra\t-d  in  Lim-.ar  St^t.e:  often 
purel\'  geometrical.  The  scarab  of  43()4-s  is  smaller  than  the 
base  on  which  it  stands  and  approximates  to  the  button-seal 
t\'pe;  compare  also  the  design  of  43S5. 

4594,  two  human  figures;  comp;ire  the  design  of  the  barbaric 
cxiinder  4336.  Ill,  xxxi,  14. 

4395,  two  human  figures.         (>yprus,   PI.  xxx\iii,  a. 

Ill,  xxxi,  i() 
4^()6,  lines  and  dots,  intended  for  a  s;icred  tree.  Ill,  xxxi,  2. 
4397,  rutie  design  of  r;idial  lines.  Ill,  xxxi,  4. 

4  5()(S,    bull    with    tree   behind;   tht'   b.ick   coxeretl    with    incised 
lattice.  (;\prus,    PI.   x\x\in',   ti.  Ill,  xxxi,   i. 

4399-440^.  Scarabs  01  Siiaiiii,  in  Oriiniai,  Sivi.i  :  thesi' 
are  usualh'  in  a  \er\'  bku  k  fnu'-^r.iined  slone,  ;iiul  are  rubbed 
in  a  w:iv  which  sugge^t^  tli;it  tlir\  1ki\A'  brcn  uoru  like  beads, 
not  set  in  ;i  rin^. 

4',9(),  procession  of  thrtc  warriors  in  the  lugli  crcxlrd  heiinci, 
single  sprar,   and    round   shiiTl   with   cmirjl    buxs,   which   Arc 

447 


THE    COI.l.JiCllON    Ol-    CYLINDERS    AND    SHAL-STONHS 

worn  b\'  auxiliar\'  troops  of  Sennacherib  in  the  earl>'  seventh 
centur\':  for  the  shields  compare  the  sard  4146.  Cyprus, 
PI.  xl,  10.  Ill,  xxxi,  17. 

4400,  goose,  with  spread  wings,  and  solar  disc  above:  it  seems 
to  be  the  Hg\ptian  ro\al  bird,  and  its  st\'Ie  suggests  an  origin 
for  the  fine  birds  on  painted  vases  754  ff.  of  the  seventh  cen- 
turw 

4401,  sacred  tree  between  griffins:  Mixed  0:ucntal  stxde. 

1 1 1,  xxxi,  3. 

4402,  seated  sphinx  in  round  cap,  in  a  hea\'y  deep-cut  stxle: 
the  scarab  has  the  same  prominent  keel  as  4178  ff.  in  hard  stone 
in  the  Collection  of  Finger-Rings.  Ill,  xxxii,  3. 

4403,  a  bearded  man  in  long  robe  stabs  a  griffin  with  a  pommel- 
hilted  sword.  Ill,  xxxii,  i. 

4404-S.     Scarabs  of  Hard  Stone  and  Egyptian  Glaze. 

4404,  blue-gre\- stone  or  glaze,  engraved  with  a  horned  altar  or 
table  of  offerings.  Ill,  xxxi,  15. 

4405,  dark  blue  glass:  bull  and  foliage,  and  perhaps  some 
characters  (damaged)  above:  earl\'  smooth  st}'Ie  with  some 
Egxptian  influence.  C^xprus,  PI.  xxx\ii,  16.  Ill,  xxxi,  13. 
440(1,  brown  Egyptian  steatite:  a  pair  of  uraeus-snakes  guard 
a  sacred  tree  in  the  midst  of  which  is  a  Hathor-head. 

C\  prus,  PI.  xxx\,  5.  Ill,  xxxi,  19. 

4407,  red  plasma:  hawk-headed  Eg\ptian  figure  supporting 
a  solar  disc:  compare  the  gold  plaque  3289:  hnework  in  .Archaic 
C\priote  st\ie.  Cxprus,  PI,  xxx\i,  4.  Ill,  xxxi,  12. 

4408,  carnelian:  plain. 

The  seals  which  follow,  like  the  domed  and  p\Tamidal  seals,  are  of 
classes  which  belong  to  the  mainland,  and  are  onl_\-  rarelx'  found 
in  (]\prus.  One  example  like  4421-4,  in  the  .Ashmolean  .Museum  at 
Oxford,  is  from  a  late   Roman  tomb  at  Kition. 

440()-i9.  Sassanian  Seals  of  characteristic  globular  or  domed 
form,  with  a  flat  surface  for  the  engra\ing,  and  a  trans\'erse  per- 
foration, which  is  sometimes  \er\-  wide,  so  that  the  seal  looks 
like  a  clunis\-  ring.  Thev  are  of  chalcedony  and  other  hard 
stones.  rhe\-  illustrate  the  art  of  the  Sassanian  Dynast}'  in 
Persia,  which  was  founded  in  226  .A.  D.,  and  represents  a  new 
movement  of  Persian  nationalism  in  politics  and  st\le.  These 
seals  are  intended,  like  the  old  cxiinders  and  cones,  to  be  carried 
on  a  cord,  but  the  string-hole  is  often  so  large  as  to  give  the 
448 


SCARABS    AND    SCARABOIDS 

signet  some  resemblance  to  a  ring;  and  some  of  these  stones 
were  certainly  worn  on  a  suspension-ring  of  metal.  .Many 
of  these  seals  bear  inscriptions  in  Pehlexi  characters.  'Ihe 
chronology  of  them  is  obscure  in  detail.  Their  st\!e  is  a 
mixture  of  Graeco-Roman  and  Oriental  tradition — portrait 
heads,  on  the  one  hand,  and  sacred  trees,  fire-s_\mbols,  and 
winged  animals,  on  the  other  —  and  passes  over  into  the  art 
of  mediaeval  Persia. 

4409,  brown  chalcedony:  bearded  head  with  inscription, 
"Confidence  in  God":  see  Appendix. 

4410,  mottled  red  and  white  jasper:  conventionalized  "hre- 
altar"  device  with  inscription,  "Confidence  in  God  the  Lord": 
sec  Appendix. 

441 1,  haematite:  "fire  altar"  with  border  simulating  an 
inscription. 

4412,  grey  chalcedon}':  angular  device,  perhaps  a  "fire-altar"; 
very  rough  work. 

4413,  grey  agate:  a  stag  with  heav\-  antlers.  4414,  haematite: 
lion  (?)  much  worn.  4415,  chalcedon}-:  bird.  4416,  green 
plasma:  bird.  4417,  carnelian :  standing  female  figure.  4418, 
carnelian:  fish.  4419,  chalcedon}-:  bearded  head  with  winged 
shoulders.  In  the  perforation  of  44i7-i<S  still  lies  part  of  the 
large  iron  rings  on  which  the}'  were  worn. 

4420.  Bronzh  Ring-Seal  of  the  same  st}-le  as  430(S-i(S  , too  small 
to  wear  as  a  finger-ring:  the  engra\ing  is  defaced. 

4421-43.  Pyramidal  Shai.s,  eight-sided,  with  engraxing  on  tlie 
oval  base,  which  is  slightl}'  conxex.  All  these  examples  bear 
variants  of  the  same  design,  a  man  in  high  cap  adoring  a  shrine 
or  altar  on  which  stand  one  or  more  columns  which  are 
sometimes  surrounded  b\-  ra\s:  4421-2^  arc  of  milk\-  ch;ilce- 
dony;  4424  of  hard  while  felspar.  The  pendant  4424a,  also 
of  chalcedom-,  seems  lo  be  a  fragment  of  a  seal  of  this  kind, 
which  has  been  re-jXTforated  and  engra\ed  with  a  bird. 

4425.  (>LhAR  Carbi  NCi.i- :  a  bearded  heatl  with  curled  hair  ami 
beard,  in  Sassanian  st\le  like44n(),  but  earli'/r  and  better  cut; 
inscribed  in  Pehle\i  characters,  "Sarma/di,"  probablv  ;i  jht- 
sonal  name:  see  .Aiipendix.  Ill,  xxxn',  (>. 


440 


THH    COl.LHCrnON    ()!■    CYLINDHRS    AND    SHAL-STONHS 

BABYLONIAN    AND  O'lHHR  ORIHNTAL  WEIGHTS 

These,  like  the  previous  groups,  probabh'  came  from  the  mainland 
in  recent  times;  at  all  events,  thev  have  not  }et  been  recorded  in 
tombs  or  on  sites  in  (^\prus. 

4426-33.  Si'iNL)ij:-snAi>i-i)  WEIGHTS  of  green-stoue  4426,  porphyry 
4427,  and  haematite  442<S-33;  some  with  a  flat  surface  on  one 
side;  442()  has  a  cuneiform  inscription  added  in  modern  times: 
see  Appendix. 

Their  weights  as  follows: 

4426  weighs  2353.4  grains         443<>  w'eighs  540.1  grains. 

4427  "        1240.7       "  4431       "        500.3       " 

4428  "        1274.5       "  4432       "        274.9  (bored). 

4429  "        1218.4      "  4433       "        385.6  (chipped). 

4434-7.  DoME-SHAPKD  WEIGHTS  of  haematite:  4434  is  accurately 
shaped,  slightl\'  smaller  at  the  base  than  abov'e,  with  a  small 
circle  engraved  on  the  flat  under  side;  4435-7  arc  little 
more  than  natural  nodules  of  haematite  partly  rubbed  smooth, 
like  4442-4. 

4434  weighs  182.2  grains  4436  weighs    98.8  grains. 

4435  "        966.0      "  4437       "        180.7       " 

4438-40.  DucK-snAi'i:D  WEIGHTS,  of  characteristic  Babylonian 
form,  with  the  head  turned  down  on  the  back:  4437  is  of 
haematite;  4439-40  of  chalcedonv,  roughh'  engraved  with  a 
rayed  column  on  the  under  side. 

4438  weighs  I  I  I.I  grains  4440  weighs  51.5  grains 

4439  "  43.9       " 

4441.  F-'rog-shaped  Weight  of  haematite;  its  weight  is  158.1 
grains. 

4442-4.  F'ragments  of  Haematite,  partly  worked  into  weights 
or  other  objects. 

EGYPTIAN    AMULETS 

The  amulets  in  glazed  paste  are  common  in  Cyprus  in  tombs  of 
the  seventh  and  sixth  centuries:  those  in  hard  stone  arc  of  more 
various  periods.  Most  of  these  latter  have  not  been  recorded  in 
C\prus,  whereas  such  objects,  of  all  periods,  are  commonly  brought 
fnjm  Hg\'pt  and  offered  for  sale  in  most  parts  of  the  Levant. 

450 


AMULETS 

4445-60.     Amulets  of  Hard  Stonh.     The  forms  and  purpose  of 
these  objects  follow  those  of  the  glazed  amulets  44()i  tf.  below. 
4445-7,  heart  pendants  in  lapis-lazuli  (4445)  and  jasper  (4446-7). 
4448,  frog,   in  jasper,  of  the  XX\'l    Dxnasty.     ('ompare  the 
frog  in   black  on\-x,    3303b,  probabl\-    rather    later:    and    the 
tortoise    beads    in    agate    in  the   necklace  3303a  in  the  (a)l- 
lection   of  Ornaments.     4449,   Sun-on-horizon,   in   red  jasper. 
4450-51,  girdle-tie  in  jasper.     4452-4,  ded-sign  in  lapis-lazuli. 
4455,    spindle-shaped    bead,    in  lapis-lazuli.     4456,  perforated 
disc,  of  lapis-lazuli,  perhaps  an  unfinished  ring.     4457,  thun- 
derbolt-sign, in  chalcedon}'.     4458,  pillow-charm  in  jasper. 
4459-60,  slit    earrings  of  carnelian:  the  purpose  of  these  rings 
has  been  determined  by  finding  them  in  position  on  the  ears 
of  mummied  bodies. 
Eg\'ptian   amulets  in  glazed  paste  arc  found  in   tombs  of  many 
periods,    and    are   particularl)'   common    in    those   of   the   Graeco- 
Phocnician  or  Orientalizing  Period  of  the  Earl\'   Iron  Age,  when 
Cyprus  was  in  most  frequent  intercourse  with  Eg\pt.      A  few  are 
cut  in  chalcedony,  agate,  and  other  hard  materials,  but  most  of 
them  are  moulded  in  a  soft  white  paste  which  is  co\ered  with  a 
coloured  glaze,  usuallx'  blue,  though  this  is  sometimes  discoloured 
to    various    tints    of  green,   violet,  or  gre}',  or  reduceti  almost  to 
white.     Occasional!}-  also  red,  \ellow,  and  brown  glazes  are  used, 
and  very  \aried  colours  pre\ail  for  a  brief  period   in   the  X\'lll 
and   XX\'l    D_\-nasties,   and   again    in    Roman   times.      Details  are 
sometimes  added  in  a  dense  black   paint.     Some  objects  here  des- 
cribed (like  4550)  seem  to  ha\e  no  paste  core,  but  to  consist  of  glass 
only.     Such  glass  work  is  rarer  at  all  periotls  than  the  paste.    Some 
of  the  larger  figures  were   intended   to  stand   h\   theniseh  t's;   but 
nearh'  all  are  provided  also  with  a  suspension-l()oi\  so  that   thev 
could    be   worn    as   pendants    in   a    necklace   ol    beails.      Alan\-   are 
perffjraled  like  beads,  ami  some  ha\f  two  or  niort'  pertorat  ions,  to 
ser\-e  as  control-beads,  in  a  nuiitijije  collar. 

The  larger  amulets  represent  I{g\ptian  deities.  usuall\  animal- 
headed,  or  idt'ntified  hv  the  s\iiil^ois  or  attributes  whicli  lhe\- 
hold.  Then  come  figures  of  animals.  liierogl\  phic  s\  nijiois,  ami 
other  magical  olyj^■c1^. 

Though  larger  and  finer  specimens  of  glaze  can  usuallx  be  (kited 
by  c|ualit\-  and  colour,  as  uell  as  b\  their  st\k',  the  d.ite  ot  these 
small  common  pieces  is  often  ipiite  unci-rtain,  and  as  sui  li  olyje^ls 
are  coiumonK'  ofi'ered   for  sale   in   most    parts  of  the   ke\aiil,   it    is 

451 


i\\\     coil  IC  riON    OI     CYLINDHRS    AND    SHAL-STONKS 

nol  unIikol\'  (in  tlio  absence  of  all  record  of  disco\er\)  that  some 
of  the  hnger  amulets,  and  most  of  the  purel\-  decorati\c  objects, 
ma\  lia\e  been  brought  from  Eg\pt  in  recent  times.  Objects  of  the 
finer  c]ualities  are  hardh  e\er  recorded  from  tombs  in  C\prus;  the\ 
ha\e  jirobabl)-  been  ac(.|uired   by  purchase. 

44()i-()^  r-'uuKi.s  OF  l)iriii:s  as  follows:  4461-8  Ptah-seker; 
44(k)-7o  Khepera;  4471-1  Bes;  4476-8  Isis  with  the  infant 
llorus;  447<)  Mut  wearing  the  double  crown;  4480-3  Khnum, 
ram-heaLied;  4484  llalhor,  cow-horned;  4485-9  Thueris,  either 
crocodile-shaped  (4483-7)  or  human,  holding  crocodiles  (4488-9); 
4490-1  Anubis,  dog-headed;  4492-3  Bast,  cat-headed. 

The  examples   figured   in   Cyprus,   p.   276,   seem   to  be   (from   left 

to  right)  44()2,  4485,  4471,  4480. 

44()4.  Hanuli-  ok  a  Sistru.m  or  ceremonial  rattle,  in  miniature, 
decorated  with  the  horned  head  of  Hathor. 

44()5-().  .MiMATLRE  UsHABTis,  Or  representations  of  a  mummied 
corpse  in  its  wrappings:  such  ushabtis  were  buried  in  large 
numbers  in'  Eg\plian  gra\es,  and  were  believed  to  ensure  the 
resurrection  of  the  bod\'  with  which  the\'  were  placed.  These 
miniature  figures,  worn  as  charms,  ma\-  ha\e  been  intended 
to  gi\e  the  same  assurance. 

4497-4509.  KicuRES  01-  .Am.mals,  usuall\-  such  as  were  the  attri- 
bute of  some  deit\-:  for  example,  4497-9,  hawks,  representing 
Ra  the  Sun  God;  4500,  a  lion,  for  Sakhmi  the  War  Goddess; 
4tOI  a  ram,  and  4509  a  ram's  head,  for  Khnum;  4502-3  cats,  for 
Bast.  The  sow  4504,  hare  4505,  and  frog  4506  are  also  com- 
mon amulets:  the  snakes  4507-8  are  symbols  of  ro\alt\-,  and  in- 
\()ke  ro\al  protection.     Cyprus,  p.  276  (4502). 

4S 10-25.  S^'.mbolicObjhcts,  representing 45  lo-i  i  a  menat-pendant ; 
4512-18  the  ded-sign;  4519-20  a  pap>TUs  capital,  common  in 
Hgxptian  architecture;  4521  a  pectoral  pendant,  such  as  is  used 
on  mummies;  4522-4  bunches  of  grapes,  or  other  clusters  of 
fruit;  4525  a  bead,  inscribed  sa-Ra. 

452()-^i.  E^i-:  (^HAR.MS,  perforated  to  scr\-e  as  beads  in  a  necklace. 
I  he  majorit\-  are  modelled  free,  but  4530  is  in  relief  on  a 
plaque  like  those  which  follow;  4=i3i  has  four  e_\es  conjoined. 

4532-8.  Pla(ji  iis  AND  1'lat  Bhads,  somctimes  with  more  than 
one  perforation  to  ser\e  as  controls  in  a  multiple  necklace: 
4532    is    inscribed     .\len-kheper-ra,    the    throne    name   of   the 

452 


AMULETS 

great  conqueror  I'hothmes  III,  of  the  X\'III  D\nast\',  and 
also  of  an  obscurer  king  of  the  XXI;  4533  shows  Isis  nourish- 
ing a  king,  and  4534-5  groups  of  deities;  4530-7  represent  a 
series  of  groo\ed  beads  fashioned  in  one  piece;  perhaps  of 
the  XX-XXI  D\nastics;  4538  is  inscribed  Ws-'ir     Osiris. 

4539-48.  AliscHLLANhOLS  OBjtCTs.  453(),  signet-ring,  represent- 
ing the  God  Fhoth:  XXV  D\nast\-.  4540,  ring  of  openwork, 
representing  the  crocodile-God  I'hueris  among  lotos  plants; 
probabl\-  of  the  XXI  Dynasty.  4541,  button  seal,  represent- 
ing a  uraeus  snake.  4542-3,  beads  of  the  XXVI  D\nast\-; 
4542,  pale  blue  glaze  with  orange  line;  4543,  a  conical  pendant 
bead.  4544,  plaque  of  grey  clay,  not  \et  glazed,  representing 
the  God  Osiris.  4545,  five  roundels  (a,  b,  c,  d,  e)  for  inla\  ing 
in  woodwork  or  wall  decoration;  with  dais\'  pattern  in  while 
on  coloured  grounds.  4S46,  fragment  of  inla\',  manx-coloured, 
to  be  used  like  4545.  45473,  b,  fragments  of  a  blue-glaze 
vase,  of  the  genuine  Egyptian  fabric  which  is  imitated  hv  1 575-8 
in  Wall-Case  73.  4548,  mirror  handle  of  blue  glaze  with  lotos 
petals  in  white. 

4549.  Flat  Circular  Bhad  of  the  same  bright  blue  chalk\-  paste 
as  the  scarab  4178  in  the  (lolleclion  of  h'inger  Rings. 
It  is  probahl\-  not  Kg\'ptian,  but  rejiresents  a  local  tabric 
either  in  (^\prus  or  on  the  S\rian  coast.  I  his  blue  paste 
seems  to  be  rather  earlier  than  the  ordinarx'  blue  glazed 
objects  of  the   XX\'l  Dynastw 

4550.  .MoiLDhi)  I'lciKi-.  IN  Dark  Bll  i-  Giazi-,  representing  a 
beardeil  man  in  a  late  un-l'^gxjit  ian  st\le,  not  unlike  that  of 
the  Sassanian  seal-stones.  It  has  been  broken,  and  re-fier- 
forated  as  a  pendant. 


453 


THF.  COLIJ-.CTION  OF 
VESSELS  OF  GOLD,  SIL\FR 
AND  GILDED  BRONZE 


1  HE  COLLECTION  OF  VESSELS  OE  GOLD, 
SILVER,  AND  GILDED  BRONZE 

IN  dealing  with  the  Collection  of  Potter}',  mention  has  been 
made  alread\-  (p.  4)  of  the  influence  of  metallic  originals  on  the 
forms  and  decoration,  and  a  few  jugs  and  howls  of  bronze 
are  described  below  in  the  Ccjllection  of  Bronzes.  But  the 
\essels  of  gold  and  siher,  of  which  wc  ha\e  literar\-  record,  ha\"e 
alwa\'s  been  in  danger  of  destruction  for  the  sake  of  the  precious 
metal,  and  are  onl\'  to  be  found  in  sanctuaries  which  ha\e  been 
suddenl)'  and  accidentall\'  destrowd,  or  in  tombs  which  have  es- 
caped the  notice  of  treasure-seekers. 

Of  such  x'essels,  and  particularK'  of  engra\ed  bowls  of  sih'er,  the 
Cesnola  (jdlectioii  has  a  number  of  examples;  and  another  siKer 
bowl,  found  by  (leneral  di  C^esnola,  and  accjuired  from  him  b\'  the 
Berlin  .Museum,  is  one  of  their  most  important  dalemarks. 
The  series  to  which  these  eiigraxed  bowls  belong  begins  with 
genuine  r{g\ptian  workman^hiji  of  the  .Will  and  XIX  Dynasties, 
S(jmetimes  almost  juireh'  nal  uralist  ic.  The  Berlin  bowl,  abo\e 
mentioned,  is  thi'  larlirst  thai  has  been  lound  in  (^\prus:  it  seems 
to  be  genuine  I^gxjniaii  vsork  of  the  XIX  or  .XX  n\nasl\'  {about 
1200  B.  (].),  in  w  hiJi  thr  ^arlirr  nal  urali'^m  of  the  .Will  l)\na  six- 
begins  to  giw  placr  to  con\x'nl  ional  rniderings  of  l-.g\ptian  scenes. 
These  ha\'e  brrii  gnath'  simplilicd  in  transcription,  and  no!  alwaxs 
clearl\-  uncii.-r>too(l  b\  ;hr  oipxisl.  Noi  much  laU'r  ihanthesi', 
probabiN',  is  t  hr  drlicalr  linr-ciigra\  ing  of  liu'  bowls  .JStI.  4tt-. 
4St ',,  wlierc  1  lu- call  If,  w  alcrbirib.  .iiul  foliaur,  though  ralluTniore 
stiflh'  trcaled,  arc  still  draun  parlK  from  naliin,-,  and  onl\  parll\' 
from  |-'.g\ptian  drsignx,  Willi  these  (^xpriole  f.\.im|)les,  uhiJi 
ma\-  \-er\-  well  hr.  like  liuir  prrdrnssors,  of  lg\pti:in  work- 
manship, We  should  comparr  the  more  nat  uralist  u  and  l'g\p- 
tian  pliases  of  the  grcit  scries  o|  hronzr  shicTIs  Ironi  llir  Idaran 
(^a\e  in   (  J'ete, 

157 


\i;SSl  I.S    Ol     COl.D,    SILVHR,    AND    GILDHl)    BRONZh 

Next  loiiu-  main'  bowls  in  the  Mixed  Oriental  st\le,  of  which 
4^S4  is  a  fine  example.  Mere,  naturalistic  treatment  ceases,  ami 
designs  are  borrowed  imparliall\'  from  the  conventional  art  of 
Kg\pt  and  from  that  of  Ass\ria.  Ihe  chronology  of  this  large 
group  is  \er\'  obscure,  anti  the  place  of  manufacture  uncertain. 
The  workmanship  is  certainl\'  not  Kg\ptian,  and  as  it  \aries  greatly 
in  sl\"le.  there  ma\'  lia\e  been  se\eral  local  schools,  in  C\prus, 
Phoenicia,  and  perhaps  elsewhere  also.  Oete,  at  all  c\cnts,  had 
a  similar  school  of  its  own,  represented  b\'  the  Idaean  Bronzes 
alread\-  mentioned.  These  engra\'cd  bowls  tra\elled  far  and  wide, 
to  Nine\eh  on  the  east;  to  .Athens  and  01\mpia;  and  in  the  west 
to  (^aere  and  Praeneste  in  the  neighbourhood  of  Rome.  The 
fragmentar\'  bowl  4536  is  an  almost  exact  duplicate  of  one  of  the 
finest  from  Praeneste.  I'urther  still  to  the  northwest,  thescoriginal 
masterpieces  were  extensixely  imitated,  especially  near  Bologna 
and  X'erona,  by  native  craftsmen,  whose  works  are  found 
on  both  sides  of  the  Alps,  and  throughout  the  middle  basin  of  the 
Danube.  The  limits  of  date  are  fixed,  upwards,  b\-  the  purel\- 
Egyptian  bowls  alread\'  mentioned,  which  certainly  come  down 
to  1200  B.C.  or  later,  and  therefore  to  the  beginning  of  the  Transi- 
tional iron  -Age;  downwards,  by  the  occurrence  of  figures  in  western 
arnKjur  on  some  of  the  bowls,  and  by  a  simplicity  and  freedom  of 
treatment,  which  seems  to  betra\'  Greek  infiuence,  and  cannot  be 
much  earlier  than  the  middle  of  the  se\enth  century. 
One  of  the  finest  of  these,  commonl\'  known  as  the  ".Amathus  Bowl," 
(figured  in  Cyprus,  PI.  xix;  Colonna-Ceccaldi,  PI.  \iii;  Perrot,  fig. 
547;  Helbig,  Homcrisches  Epos,  PI.  i,  and  repcatedl\-  elsewhere,)  is 
not  in  the  Collection,  and  does  not  seem  to  ha\e  e\er  reached  New 
^'ork.      It  was  at  one  time  in  the  Ruskin  Collection. 

4351.  Gold  Bowl,  in  purely  Eg_\ptian  st\le,  engra\-ed  with  a 
central  rosette  (i);  then,  after  a  plain  interxal  (ii),  a  zone  of 
qtn'te  conxent ional  pap>TUS  heads  (iii)  among  which  swim 
birds  on  equall\'  conxentional  water.  Then  after  another 
plain  inter\al  fi\),  which  is  not  marked  ofi'  ircim  the  papxTUS 
heads,  comes  another  zone  o\  pap\  rus  f\)  with  three  deer  and 
three  bulls  similarl)'  shown  half-concealed  b\'  conventional 
water.  The  principal  features  of  the  design  are  slightl}'  em- 
bossed.        (;\  prus,  p.  316. 

4552.  SiL\  i:R  Fjow  L,  richl\'  engra\cd,  but  quite  without  embossed 
relief.      In  the  centre  is  a  large  rosette  (x).     Then,  separated 

438 


BOWLS 

by  a  broad  intcr\-al  O'i),  comes  an  inner  zone  (iii),  of  conven- 
tional lotos  flowers  and  buds,  on  long  stalks.  Then,  after 
another  inter\al  (i\),  comes  an  outer  zone  (\),  onl\-  lightly 
and  irregularl\-  subdi\ided  b\-  lotos  plants  and  trees,  both 
natural  and  conventional:  about  fixe  of  these,  pairs  of  single 
snakes,  hnwks,  griffins,  face  each  other  herakiicall}-,  the  re- 
maining  spaces   being   filled   by   other   winged    creatures   set 


4553 

singh'.  F.ngraxed  in  this  /one  is  a  (~\priote  inscription  dI 
ele\en  characters,  which  ni;i\'  be  read  "I  am  y. -^  ^  i_\^  \^ 
the  b(A\i  of  l^piorot's."  I  he  proper  name  is  h'CX^X 
unusual,  and  perhaps  not  \  el  right  1\'  n.';id:  see  .Appendix. 
Another  brojd  inter\:il  (\i)  M'[i;ir;ites  tins  outt-r  zone  from  the 
rim  of  the  bowl.  I  In-  sl\le  is  i  lose  to  th;il  of  lg\|WKin  en- 
graved work  of  t  he  d\n;isi  ics  bd  ween  the.XlX  ;ind  the  .X.WI, 
but  L;innot    be  precisch    ikiled.  111.  \.\.\iii.   i. 

4553.     G(.M.i;-iM..\  1 1.0   Sii.\rK    I'ow  I.,    with    central    mcd.illion    and 

450 


VHSSHLS    OF    GOLD,    SILVHR,    AND    GILDHD    BRONZE 

two  zones  of  ornament  tinel\-  ongra\ed  in  outline,  with  some 
use  ot"  low  relief.  These  zones  are  not  separated  b\'  plain 
interxals.  like  those  of  453J,  but  co\er  the  whole  inner  surface 
of  the  bowl  and  are  defined  b\-  narrow  bands  of  a  necklace 
design,  composed  of  minute  punch-marked  circles.  In  the 
central  medallion  (i),  a  bull  moxes  to  the  right,  in  a  \igorous 
almost   natural   st\le,   with   reminiscences  of  .Mxcenaean   and 


4754 
also  of  Fg\ptian  con\ention.  The  inner  zone  (ii)  shows  a 
procession  of  se\en  horses  grazing  to  the  right  in  the  same 
\  igorous  and  graceful  st\le.  The  outer  zone  (iii)  is  sub- 
di\ided  b\  a  background  of  pap\rus  stems  into  ti\e  spaces, 
in  each  of  which  stands  an  animal-group: — cow  with  calf 
(twice),  horse  with  foal  (twice),  and  a  standing  horse  —  all 
much  damaged  b\'  rust.  The  st\ie  is  rather  less  careful  than 
in  4552.  Ill,  .xxxiii,  4. 

460 


BOWLS 

45 54.  SiLVHR  Bowl,  engraved  aiui  embossed,  with  a  central 
medallif)n,  which  is  surrounded  h\-  two  zones  of  figures  em- 
bossed and  gilded  on  the  siKer  ground.  Between  the  zones 
run  borders  of  cable  ornament.  In  the  medallion  (i),  a  four- 
winged  human  figure  in  .\ss\  rian  cap  and  robe  attacks  a  lion, 
while  abo\e  and  behind  ho\er  two  Kgvptian  sacred  hawks 
to  protect  him.  The  inner  zone  (ii)  is  composed  of  a  number 
of  independent  animal  groups,  separated  b\-  trees  \erv  con- 
ventionall\'  drawn;  among  these  are  confronted  bulls,  grazing 
horses,  cow  and  calf,  lion  standing  o\er  a  prostrate  man, 
a  lion-hunt,  and  seated  sphinxes  with  cartouches  of  illegible 
writing  in  the  background.  The  outer  zone  (iii)  is  subdi\ided, 
une\'enl>',  b\'  conventional  "sacred  trees,"  and  in  the  com- 
partments thus  formed  are  sphinxes,  goats,  and  other  figures 
in  irregular  attendance  on  the  trees,  and  also  independent 
groups  of  men  fighting  with  lions,  or  griffins,  and  an  Egyptian 
conqueror  slaxing  capti\es.  The  whf)le  is  executed  in  a  .Mixed 
Oriental  st\le,  and  probablx'  belongs  to  the  se\enth  century 
B.C.  C\prus,  p.  329;  Perrot,  fig.  ss2;  (^olonna-Ceccaldi, 
PI.  X.  Ill,  xxxiii,  3. 

4555.  Silver  Bowl,  much  damaged,  engra\ed  in  a  delicate 
and  ad\anced  st\le  which,  though  intluenced  b\'  earlier  work 
(;f  .Mixed  Oriental  st\le,  is  essentiallx'  naturalistic,  and  cor- 
responds in  feeling  and  techni(]Ue  with  the  earlier  phases  of 
the  .Arch.aic  (^\priote  st\le  in  gem-engra\ing  and  sculpture. 
.■\s  usual  in  these  bowls,  the  mon-  ambitious  and  adxanced 
work  occupies  the  place  of  honour  in  the  principal  zone  nearest 
the  rim;  the  narrtnver  zones  and  the  central  medallion  being 
executed  still  in  more  subdued  and  con\'entional  mo(Kl. 
The  predominant  influence  now  is  once  more  that  of  l-'g\  pt,  but 
it  is  the  reiu\t'nated  art  of  the  X.Wl  1)\  nast\-,  not  ihe  deca- 
dent grandeur  of  the  -X.\. 

The  central  mrdallion  (i)  shows  ihe  purel\-  con\enlional 
design  of  Isis  nourishing  llorus.  This  group  is  scl  against 
a  sparse  background  of  pap\rus  stems,  the  lu-ads  of  which 
drooji  gracefulh'  outwards,  ant!  frame  the  picture.  Aroumi 
this  comes  (ii)  a  narrow  zone  of  animal  scenes:  abo\'e  the  toji 
of  the  central  medallion,  a  shefijierd  leaning  on  his  stall,  and 
raising  one  foot  to  rest  it,  looks  to  the  right  at  a  horse  or  bull 
whicli  mo\  es  :i\sa\  from  hini:  the  rest  of  this  side  is  corrodeil. 
Behind  hitn  is  a  Jum[i  of  foliage,  and  then  a  succession  ol 
.161 


VHSSLLS    Ol-    GOLD,    SILVHR,    AND    GILDHD    BRONZH 

horses  and  bulls,  in  xaricd  pose,  much  corroded.  Opposite 
the  shepherd,  and  at  the  bottom  of  the  central  medallion,  is 
a  grove  of  pap\rus,  which  di\ides  the  scene,  the  last  animals, 
on  either  side,  moxing  a\va\-  from  this  grove,  and  towards  the 
shepherd.  This  attempt  at  s\mmetrical  composition  is  a 
mark  of  late  date,  and  of  affinil\'  with  the  western  spirit  which 
inspires  the  Idaean  (bronzes.  .Xround  this,  and  separated 
bv  a  lotos  flower  border,  comes  (iii)  a  banquet-zone,  six 
ct)uches  of  which  are  recognizable,  and  between  them  a 
seated  figure  holding  a  large  vase  or  a  tambourine,  a  box- 
carrying  a  basket  and  otTering  food  to  one  of  the  feasters,  and 
another  standing  figure.  Here  not  much  balance  or  com- 
position is  perceptible;  but  the  long  horizontal  lines  of  the 
couches  draw  the  whole  design  of  the  bowl  together,  amid 
the  di\'erse  agitation  of  the  zones  on  either  side.  Then  comes 
(iv)  a  long  continuous  scene  of  court  and  tribute,  interrupted 
b\'  a  break  in  the  metal,  which  has  deslro\ed  the  junction  of 
the  frieze  not  far  from  opposite  the  bottom  of  the  central 
medallion.  To  the  left  come  fixe  persons  from  the  open 
countr}'  (rendered  b\'  a  few  flowers  and  trees)  bringing  a  kid, 
a  calf,  and  a  reluctant  cow.  Then  a  man  leans  forward  to 
the  left,  over  another  who  is  prostrate  before  a  table  loaded 
with  fruit.  All  these  are  bringers  of  tribute.  Be\ond  the  table, 
facing  to  the  right,  is  the  recipient,  seated  in  state  and  shaded 
b\-  a  great  fan;  then  two  attendants;  then  two  men  who 
struggle  with  an  obscure  figure  between  them,  probablx'  sen- 
tenced to  punishment:  we  ma\'  suppose  that  his  offering  has 
not  found  fa\our.  Then,  after  a  corroded  space,  a  banquet 
couch,  and  traces  of  another,  with  two  standing  attendants 
between  them:  this  is  the  interior  of  the  King's  household, 
and  the  destination  of  the  offerings.  Thus,  artisticallx  .  as  well 
as  poIiticall\-,  rexenue  is  balanced  b\-  expenditure.  j-'inallx', 
nearest  the  rim,  and  separated  b\'  a  cable  bcjrder  with  lotos- 
petal  pendants  at  each  twist,  comes  (\)  a  long  zone  with 
a  charit)t  and  a  cart  carrying  people  (like  those  of  the  "snow- 
man" terracottas)  and  passing  to  the  right  from  a  cil\  to  a  palm 
gro\-e.  Then  two  more  carts  return  towards  the  citx',  round 
the  third  quarter  of  the  rim.  The  fourth  quarter,  to  the  left 
of  the  cit_\-.  is  filled  with  a  group  of  at  least  three  figures  in 
fringed  robes,  the  second  of  whom  carries  a  l\Te.  Thecitv, 
which  lies  e.xactlx'  opposite  the  bottom  of  the  central  medallion, 

462 


BOWLS 

has  a  high  wall  with  towers,  and  se\cral  heads  look  out  o\-er 
the  battlements.  At  the  entr\-  to  the  gro\e  there  are  traces 
of  some  kind  of  gatewaw  The  wheels  of  the  cart  which  is 
leaving  the  grove  are  of  the  primiti\>'  solid-plank  construc- 
tion familiar  from  earl\-  Greek  \ase-paintings:  the  chari(jt- 
whccl  has  six  spokes.  Unpublished. 
4556.  Fr.acmhnts  of  a  SiL\t;R  Bowl,  including  practicalb'  all 
the  rim  and  outermost  zone,  and  parts  of  an  inner  zone  and 
of  the  central  medallion.  The  central  medallion  (i),  which 
is  much  defaced,  shows  an  Eg\ptian  King  with  Osirian  crown, 
striding  to  the  right,  and  brandishing  a  mace,  while  with  his 
left  hand  he  seizes  b\'  the  hair  a  group  of  captives,  who  im- 
plore merc\-  with  upraised  hands.  Behind  him  an  attendant 
holds  a  large  round  fan.  This  medallion,  like  that  of  4^14,  is 
in  quite  conventional  st\le,  though  vigorousl\-  e.xecuted  and 
composed.  The  fragments  of  the  inner  zone  (ii)  show  (a)  a 
\'otar\',  harpist,  and  double  flute-pla\er,  from  right  to  left, 
immediatelx'  belowthe  retreating  giant  in  (iii);  (b)part  of  a  char- 
iot, and  then  three  soldiers,  in  kilt,  low  pointed  cap,  sword,  and 
noteworth}'  shield  of  flexible  leather  with  ri\-eted  metal  rim, 
transverse  band  of  metal  with  rixets,  and  central  boss  or  s[iike: 
this  form  is  familiar  from  .Assxrian  reliefs  of  the  earh  se\enlh 
centur\',  and  probabl>'  supplies  a  datemark  for  this  and  similar 
bowls. 

The  outer  zone  (iii)  repeats  in  \er\'  slightl\-  simplified  del;iil  the 
famous  "  1  lunting-.Adventure"  on  one  of  the  siher  bowls 
from  Praeneste.  C^dermont  (janneau,  L' hinii^crir  I'hhiiciiiDic, 
I  (Paris,  iSHo);  Perrot,  (ig.  ^4^  i'rom  a  walled  cil\'  a  chief 
rides  out  to  the  left  in  his  chariot.  Then  the  chariot  is  seen 
standing  behind  a  tree,  uhilr  ihe  chief,  behind  anolluT  tree, 
kneels  to  shoot  with  his  bow  at  a  greal  ape  which  sc|uats 
looking  awa\'  from  him;  thrn  come  deer,  and  ;i  groom  leading  a 
horse  through  a  \\"ood,  re[iri'senlcd  b\  tuo  trees  behuid  it. 
Then,  after  another  tree  the  chief  is  seen  again;  behind  him  is 
an  altar  or  low  wall  of  tiiasonrv.  and  above  it  a  winged  disc 
representing  his  goil :  this  seU  ion  is  much  daniagtxi.  but 
clearh  re|iresents  tlie  picnic  s.icrilice  mi  the  Praenesliiie  boul. 
Ilu'n  comes  a  tree-co\ered  mounlain  from  whiJi  issues  a  ^iaiit 
hurling  a  stone  at  the  chariot,  uliicli  is  sa\ed,  lio\\e\er,  b\'  the 
god,  who  carries  it  up  into  the  air  in  his  ii.inds:  alter  wliuh 
the  chariot   is  seen  restored  to  ejrth  again,  still  facing  t<i  the 

4('^ 


vhssi-;ls  oi    (..OLD,  sii.vi;r,  and  cilded  bronze 

Ictl.  and  awaitiiii;  iho  chief,  who  shoots  at  the  giant  as  he 
retreats  to  his  roek.  Ik'\"ond  this  roek  he  is  repeated,  with 
arms  bound,  awaiting  his  death-stroke  from  the  chief's  battle 
axe.  Then  the  chariot  bears  the  chief  back  again  to  the  city 
from  which  he  started.  The  st\le  and  workmanship  of  this 
zone  follow  the  Praenestine  bowl  so  closel\-  that  there  can  be 
little  doubt  that  this  duplicate  is  from  the  same  workshop. 
A.  Marquand.  .-/.  /.  .-/..  iii.  1S87.  pp.  ^22-^^,7.  PI.  xxx. 

4557.  FR.\c..Mt;NTS  OF  .A  SiLNER  Bowi,.  including  much  of  the  outer 
zone,  and  parts  of  an  inner  one.  .A  detached  fragment  4559 
with  part  (jf  the  central  medallion,  ma\'  belong  to  this  bowl. 
The  outer  zone  is  in  a  highl\-  embossed  and  coarsel}'  engra\ed 
st\le,  full  of  \igour,  but  \er\-  different  from  the  miniature 
scenes  on  4S=i4-=>.  and  more  akin  to  the  bronze  bowl  4361. 
It  depicts  a  ro\  al  feast.  In  front  of  a  square  screen  stands 
a  table  with  cur\ed  legs  bearing  a  dish  of  fruit;  to  right  and 
left  the  King  (in  fclgxptian  crown)  and  the  Queen  recline 
facing  inwards  on  high  couches  with  step-ladders;  each  holds 
a  fruit  in  outstretched  hand.  0\er  the  Oueen  is  an  inscrip- 
tion in  C\priote  characters,  which  is  discussed  in  the  Ap- 
pendix. Towards  the  Queen's  couch  come  women  in  Minoan 
jacket  and  skirt  pla\ing  double-tkite,  oriental  harp,  and 
tambourine,  and  a  cup-bearer  with  a  pile  of  bowls  in  one  hand 
and  an  oinochoe  in  the  other.  Behind  them  stands  a  great  wide- 
necked  amphora  with  \-ertical  handles;  and  then  a  table  on 
which  is  a  small  wine-amphora  between  two  oinochoai:  two 
wine-ladles  like  4925  in  the  Collection  of  Bronzes,  hang 
b>-  their  hooked  handles  on  the  edges  of  the  table.  Then  three 
more  women  adxance  in  .Minoan  jacket  and  skirt,  \er\' 
precisel}"  drawn;  the  first  holding  two  bunches  of  flowers; 
the  second,  two  legs  of  sheep  or  goat  for  the  banquet;  the  third, 
two  trussed  geese.  This  end  of  the  scene  is  closed  b\'  a  stand- 
ing bird  which  gazes  after  the  procession.  Behind  the  king,  a 
man  in  a  similar  head-dress  pla\s  the  double-flute;  then  the 
metal  is  broken. 

The  inner  zone  shows  fa)  a  pair  of  griffins  about  a  sacred 
tree;  (b)  to  the  left  of  this  group  an  archer,  kneeling,  shoots 
with  a  composite  bow  at  a  stag  which  mo\-es  awa\'  from  him 
to  the  left.  In  front  of  this  walks  another  stag:  then  the 
metal  is  broken.     Unpublished. 

4=,^^.      Fr.ao.mhnt  OF  .A  SiL\ER  BowL,   showing    part    of  an   inner 

4(M 


BOWLS 

zone  ol  alternate  running  ibex  and  lion,  each  animal  separated 
from  the  next  h\-  a  leaf-shaped  tree.      Unpublished. 

4359.  F-~R.AGME\T  OF  A  SiLvtR  BowL  showing  part  of  a  central 
medallion:  a  four-winged  human  figure,  in  long  robe,  places 
one  foot  on  the  head  of  a  small  lion  which  mows  to  the  right, 
while  he  holds  another  lion  before  him  b\-  the  tail.  1  his  is  an 
adaptation  of  the  "Lord  of  Lions"  who  was  worshipped  in 
Cilicia  under  the  name  of  Sandon,  and  is  often  represented  in 
Hittite  sculpture.  His  relations  to  the  (jreek  Herakles  ha\e 
been  discussed  on  pp.  171-2.     Unpublished. 

4S(>o.  Bronzh  Bowl,  engra\ed  and  embossed  with  a  design  of 
four  deer,  who  feed,  mo\ing  to  the  right,  before  a  background 
of  pap\Tus-stems.  The  work  is  in  strongh'  Lg\ptian  st\le. 
C]\prus,  p.  337.  Ill,  xhii,  ^ 

4s6i.  Bronzi-.  Bowl,  engraved  and  embossed.  In  the  centre, 
which  is  deepl}'  depressed,  is  a  rosette,  surrounded  b\"  a  cable 
border.  .Around  this  is  a  single  broad  zone,  tilled  with  a  re- 
markabl\'  complete  representation  of  (Cypriote  religious  ritual. 
IV)  the  right  of  a  tripod-table,  on  which  stands  a  bowl  full  of 
fruit  or  cakes,  sits  a  (joddess  on  a  high-backed  throne,  hc^lding 
a  flower  in  her  right  hand,  and,  in  her  left,  one  of  the  olferings 
from  the  bowl.  Behind  her  stand  three  musicians,  pla\ing 
double-pipe,  Ixre  (of  (ireek  t\i"»e,  but  held  sidewaxs).  and 
tambourine.  (Jn  liie  left  of  the  table  stands  a  priestess,  holding 
in  each  hand  an  (object  which  is  not  clearl\-  sliown,  perhaps 
a  fan  and  a  wine-ladle.  Behind  hw,  on  a  four-leggeil  table, 
are  a  large  amphora  and  an  oinochoe.  for  drink-olfrring. 
Then  follows  a  dance  of  six  women,  each  holding  the  wrist  of 
the  one  before  her.  as  is  the  rule  in  Creek  choral-dancing 
ancient  and  modern.  I  lie  sixth,  who  holds  a  llowiTin  her 
free  hand,  stands  back  lo  back  with  the  lambotirine-plawr 
alread\-  described,  and  so  closes  the  sa-ne.  In  the  intervals 
between  the  women,  lotos-cap|n'd  columns  perli.ips  stiTie 
like  141  s-20  ill  the  ColKction  of  Sculpliire  o^cupx  llie  back- 
ground. ,\ll  the  wnmen  wear  I  he  .Minoan  jacket  and  skirl. 
and  ha\e  their  hair  piled  high  on  the  head,  with  a  single  long 
plait  hanging  down  in  front  ol  the  shoulder.  1  he  work  is 
coarse  and  hea\\  ,  but  full  o|  mslructixe  detail,  and  should  be- 
compared  wilh  ihr  line  p.iiiiU'd  \asc  7^1  in  the  (.olItvlMn 
of   Potter\-   m    llo<,r-(.,is.'   \  Ml.      It    pr.T.dM\    bcTnigs   Im   ih, 

4<'S 


VHSSHLS    OF    GOLD,    SII.VHR,    AND    GILDhD    BRONZE 

se\enth  cenlur\-.     C^olonna-CA'Ccaldi,  PI.    vii.     C\prus,  p.  77; 

Pcrrot,  fig.  482.  Ill,  .xxxiii,  2. 

4S(>2.     SiiAL-R    Dkinkin'g   Civ  OR   DpEP    f^owL,   wilh  gadrooncd 

bod\-  and  Loncaxc  lip,  engra\ed  on  the  outer  surface  of  the 


4  379 


4581 


4562 


4586 


4388 


4592 


lip  with  a  r(nv  of  birds  lightly  outlined  in  Egxptian  st\ie: 
probabl)-  of  the  seventh  centur)'.  Cyprus,  p.  406,  fig.  22  (in- 
accuratcj.  Ill,  xxw,  i. 

4563-71.     SiL\ER    Bowls   or    Drinking   Cups   of  \arious  forms: 
4563  is  deep  and  conical  (Cvprus,  PI.  xxi.  Ill,  xxxv,  2); 

4364-3  hemispherical  (III,  xxxv,  3);    4566-7  bell-shaped  (111, 
xxxv,  4,    5);  4568-9  shallower;  4570  shallow  with  nearl\-  up- 
466 


BOWLS 

right  sides,  a  characteristic  form  in  cla\   in  the  sixth  and  fifth 
centuries  (111,    xxx\'i,    i);  4571    with   sh'ghtl\-  expanded  rim. 

Ill,  xxxvi,  2. 

4572-3.  SiL\hR  PATtRAi-:  with  central  boss,  surrounded  b\-  a 
rich  band  of  gold  embossed  with  lotos  flowers  and  palmettes, 
in  a  ver\-  advanced  stage  of  the  Oriental  st\ie;  probabl\-  not 
earlier  than  the  end  of  the  sixth  centur\'.  Ill,  xxxxii,  4. 

4574.  SiLVHK  PAihRA,  with  hemispherical  boss  in  the  centre, 
surrounded  b\-  a  narrow  band  of  gadrooned  ornament,  en- 
graved. Ill,  xxx\ii,  I. 

4574-8.  Paterae  oe  Silver,  quite  plain,  wiih  hemispherical  boss 
in  the  centre,  probabl\-  of  the  fifth  centurw  (]\prus,  PI. 
xxi.  Ill,  xxxvii,  2;  xxx\i,  3,  4,  5. 

4579.  Silver  Patera,  with  deepl\-  embossed  ornaments  of  lotos 
petals  on  the  bod\-;  probably  of  the  sixth  or  earl\-  fifth  centurx': 
compare  the  paterae  held  b\-  the  stone  hands  11 5()-7  in  the 
Collection  of  Sculpture.         C\prus,   PI.  xxi.        III,xxx\ii,  3. 

4580.  Silver  Pate^ra  with  wide  flat  rim,  and  lotos  petal  orna- 
ment o\er  the  whole  interior.  Ill,  xxx\  ii,  s- 

4581.  Two-iiANDLi-D  F^owL  oi-  SiLVE.R,  with  distinct  foot  and  rim; 
probabl\'  of  the  fourth  centur\'  B.  C  III,  xxxiw  i. 

4582-3.  I~raome:nts  oe  Silve.r  PaieraI:,  piled  together  and 
much  corroded.  Ill,  xxx\  iii,  4-1. 

4584.  I'rac..\ie:n  r  oe  the;  F^im  oi-  a  Larc.e.  Bowl,  \\\\h  a  band 
of  rosettes  embossed  on  a  thin  iilale  which  is  fastened  with 
wire  to  the  actual  rim  of  the  vessel.  It  is  probablx'  the  xi'ssel 
with  more  than  hemispherical  body,  sliglill\'  depressed,  and 
deepl\-  gadrooned,  which  is  figured  entire  in  (iN'prus,  PI.  xxi; 
Perrot.  fig.   ^(.1. 

4585.  Pa'it  RA  01  Silver,  verv  shallow,  with  broad  flaring  rim, 
(,|uite  plain.  III,  x\x\  lii,   ]. 

4586.  Sii,v'ET<  1  Ianoee-kiix.e  jio,  with  globular  bodw  flat 
rim,  and  small  handle-  attached  to  a  ridge  at  the  midtile  point 
of  the  neck.  (  ^ompa re  470-8 1 ,  in  Rvd  lUicchero  W'.ire,  in  the 
(;oll(Clion  (if  Potlirv,  Wall-Case  13.  Perliaps  of  the  seventh 
centurv.  (Aprus,  PI.  xxi;  Perrot,  fig.  5O0  (inaccurate). 

III.    x\xi\  ,   ^ 

4587.  \'i-.(;k  01  A  I  Iandi.e-RIIk.i.  jro,  but  taller  and  slenderer  t  han 
4580. 

4''7 


VLSSHLS    OF    GOLD,    SILVHR,    AND    GILDtD    BRONZL 

4s88-()o.  SiL\i:R  OiNOCHOAi,  of  the  "bird-jug"  t>'pc;  compare 
721-40  in  the  Collection  of  Potter\-,  probably  of  the  seventh 
century;  4589  onl\'  preserves  the  upper  part,  4590  only  a  frag- 
ment of  the  base.  C\prus,  PI.  xxi;  Perrot,  tig.  559  (inac- 
curate). Ill,  xxxi\',  2,  5. 

4591.  SiLNtR  OiNOCHOE,  fragmentar\' :  onl\'  the  handle  and  part 
of  the  neck  are  preserxed.  The  handle  is  of  the  double-rod 
pattern,  ending  below  in  an  Oriental  lotos-palmette.  Com- 
pare the  handles  of  the  cla\-  oinochoai  703-19  in  Wall-Cases 
20,  2  I .  Ill,  xxxix,  12. 

4592.  OiNOCHOE,  silver,  with  pear-shaped  body,  and  tapering 
neck,  llie  same  form  is  found,  in  bronze,  in  rich  tombs  of  the 
fifth  centur\-  at  .Amathus.  Ill,  xxxiv,  4. 

4S93-5.  Conical  Horn-like  Objects  of  Silver  Plate,  with 
traces  of  gilding,  ornamented  with  rosettes;  perhaps  the  feet  of 
a  large  casket,  of  more  perishable  material.  C>'prus,  Pl. 
xxi.  Ill,  xxx\iii,  1-2. 

4396-9.  SiL\ER  Spoons  for  toilet  use.  Similar  spoons  are  found 
in  rich  tombs  of  the  fifth  centur>'  at  Amathus.  C\prus, 
PI.  xxi.  Ill,  xxxix,  2,  4,  5, 


468 


IHE  COLLECTION  OF 

BRONZES  AND  OBJECTS 

OF  IRON 


THE  COLLECTION  OF  BRONZES  AND  OBJ  EC  IS 
OE  IRON 

CYPRUS  has  great  natural  wealth  both  of  copper  and  of 
iron  ore.  Iron  working  onl\-  began  at  ihe  close  of  the 
Bronze  Age,  about  looo  B.C>.,  but  the  art  of  working 
copper  was  introduced  much  earlier  about  the  same  time 
as  that  of  making  potterw  Both  arts  probabh'  came  from  the 
nearest  mainland,  for  the  earl\'  t\'pes  of  copper  implements  are 
selected  from  those  of  the  earliest  phase  of  metal  working  in  S\  ria, 
Egypt,  and  Asia  .Minor.  The  iron-work  of  North  Syria  also  prob- 
abh' goes  back  some  centuries  before  the  Iron  .Age  began  in 
(Cyprus. 

EARLY     BRONZr-;    /\GE 

The  earliest  metal  implements  from  (".\priote  tombs  are  made  not 
of  bron/.e  but  of  copper,  with  onl\-  such  slight  admixture  of  tin 
as  might  result  from  the  use  of  a  mixed  ore.  (  )n  the  other  hand, 
the\'  usualh'  contain  a  high  proportion  of  copper  oxiiK',  intrntiim- 
allv  left  unreduced  in  the  last  stage  of  the  smelting,  because  this 
impurit\'  gi\es  greater  hardness  to  the  copper  ant!  [H'rmils  it  lo 
lake  a  better  cutting-edge.  The  iniidemeiits  were  a[iiiarentl\- 
first  cast  in  an  open  mouUi  and  then  hardened  .iml  lliushed  In 
hammering.  Ihe  forms  of  these  first  implements  are  few  and 
simple;  daggers  and  axes,  chisels  and  awls,  twee/ers.  needles,  and 
several    kinds  of  pins. 

The  dagger  blades  are  of  two  main  t\pes,  <i\  whicli  liie  one  w.is 
fastened  into  its  haft  hv  trans\erse  ri\els.  the  other  In  means  of  , 
tang  which  [)roloiigs  the  midrih  (if  the  blade  itself. 
4()oi-!S.  1 .1  \i -^11  \l'i  I)  l)\ia,r.R'~.  Ihe  simplest  of  i  hi  s,  lia\e 
onK'  a  slight  mitlrib  alnng  the  centre  line  of  the  M.idr;  ih.' 
inost  carefulh  wrought.  linweviT,  haw  a  sli.irj'  keel,  se|Mr,ii  iin', 

■171 


r.r.M,/, 


IHH    (X)l.lj;c.TH)N    0\-     BRON/,l-;S    AND    OHJHCTS    OF    IRON 

Ikonzc  the  concaxe  surfaces  of  the  two  hahcs  of  the  dagger,  the  base 

'  ^"j  oi  whieh  is  rounded  (or  oiil\'  slighth'  pointed)  for  insertion  in 

a  cleft  stick  or  between  two  tlat  handle-plates  of  wood  or 
bone.  .Man>'  oi  these  blades  were  further  secured  b\'  two 
or  three  bronze  rixels,  through  holes  punched  or  drilled  through 
this  base.  Sometimes  the  blade  runs  out  behind  into  a  short 
rudimentar\  tang,  as  in  4()()S-It.  gixing  greater  strength  for 
cutting  as  well  as  thrusting;  some  of  these  tangs  also  are 
perforated  for  a  ri\et.  Though  commonl\-  described  as 
"daggers."  some  of  these  blades  ma\'  ha\e  been  mounted  on 
k)nger  shafts  as  spears;  in  no  case  ha\e  the  hafts  been  pre- 
serxed.  l.s.  (rl  in.     -^\'i  in.  Ill,  Ixxiv    i-O. 

4()i()-54.  DAC.chKS  WITH  HooKi-L)  rANG.  The  other  t\pe  of 
dagger  has  a  strongl\'  marked  midrib,  which  is  prolonged  be- 
\ond  the  heel  into  a  tang,  long  enough  to  tra\erse  the  whole 
length  of  the  handle  and  be  bent  back,  or  hammered  ilat 
(4O30)  to  pre\ent  it  from  working  loose  in  its  socket.  I'he 
cutting  edges  are  of  more  conca\e  section  than  in  4O01-15, 
and  in  some  examples  (4O33-4)  the  midrib  is  so  wide,  and  the 
lateral  wings  of  the  blade  so  narrow,  that  the  weapon  assumes 
a  four-winged  bax'onet-form,  admirable  for  stabbing,  but 
useless  for  a  cutting  stroke.  In  others  (4620-7),  the  midrib, 
though  sharpl\'  defined  lower  down,  is  intentionallx'  hammered 
lUit  for  a  short  distance  from  the  point.  The  base  of  the 
cutting  edges  is  sometimes  rounded  otT  and  separated  from 
the  tang  b\-  distinct  backward  grooxes.  Note  that  4630-32 
ha\e  been  intentionalh'  bent  and  made  useless  beft)re  the\' 
were  buried.  This  practice,  which  is  found  among  primiti\e 
peoples,  is  intended  to  "kill"  the  t)bjects  and  set  free  their 
"souls"  to  accompan\'  the  spirit  of  the  dead  owner.  Ls.  20 
in.  8.J  in.  C^,\"prus,  PI.  w  (.olonna-C-eccaldi.  Monuments 
de  (^\"pre.  p.  i2().  Ill,  Ixxii,  2-(i. 

4()3t-47.  1-T\r  (".i-.Li'-  i-oR  .\xhs  ok  .\Dzr>.  The  blade  is  thin 
and  flat  like  a  \  er\'  broad  chisel,  and  is  onl\'  \er\'  slightlx' 
expanded  at  the  cutting  edge,  or  hammered  to  a  con\ex 
outline.  These  blades  were  intended  to  be  fixed  in  the  cleft 
head  of  a  wooden  club,  or  lashed  to  an  elbowed  handle,  like 
the  axes  and  ad/es  nf  the  Later  Stone  .Age.  Some,  like  4I147, 
were  e\identl\  used  also  as  a  wedge  without  an\'  handle  at  all. 
l.s.  ^4  in.       ■!  1  in.  (^xprus.  Pl.\.  Ill,  Ixx,  1-3. 

47- 


4601 


4604 


4()o() 


46u8 


4f.24 


mEgm 


4' ". 


I  in;  c.oi.i.i-.ci  ION   oi-    bron/.i-.s  and  obji-.cis  oi    ikon 

'.nm/c  _)()^S-().     Chillis,  shaped  like  lonfz;  narrow  cells,    are    found    but 

'■'^'j  rareh'.      I'heN'  are  either  scjuare-headed,   like  masons'  chisels 

(4()4S);  or  else  end  in  a  sjiiked  tang  for  insertion  in  a  wooden 

hall  (4()4()).  l.s.  4i  in.,  ^  in.  Ill,  Ixix,  6. 

4()tO-7.  .\\\ls  of  this  period  are  of  the  simplest  forms,  and  this 
primiti\e  t\pe  prohabh'  remained  in  use  for  long.  One 
specimen  (4()St)  preserxes  its  primitive  handle  of  deer's  horn, 
hut   it   is  not   certainJNof  the  earliest  period.  Ls.  5^  in. — 

]'l  in.  Ill,  Ixix,  3;  cxvi,  3  (4655). 

4()S<'^-():!.  i  \\Kt-:zERs,  which  are  common,  were  probabK'  used  to  re- 
mo\  e  superfluous  hairs.  C^xprus  has  neither  fine  Hint,  like  Eg\pt, 
nor  obsidian,  the  keen-edged  volcanic  glass  of  the  Greek  Islands, 
to  suppl\  the  place  of  razors.     Ls.  3I  in.  —  2|  in.     lil,lxiv,  7. 

46()V7^  Nij-DLF.s  were  commonlx'  placed  in  the  early  tombs,  to 
proN  ide  for  the  dead  man's  clothing  in  the  "other  world." 
The  most  primitive  (4663-4)  ha\e  no  "eye,"  but  a  loop  or  hook 
at  the  hinder  end;  drilled  e\es,  however,  were  invented  before 
the  Later  Bronze  Age  (46()5-8),  and  needles  with  o\al  or  slit- 
shaped  e\e  (46()9-73)  were  in  use  for  coarse  threads,  or  to  hold 
braid  or  flat  sinew.         Ls.  53  in.  —  22  in.  Ill,  Ixii,  13-17. 

4674-().      Pins   are  of  simple  form,   with   the  head   hardly  distin- 
guished from  the  shank;  rarel\'  the  butt-end  is  hammered  out 
into  nail-head  form.         Ls.  1 5.',  in.,  ii{  in.,  3!  in. 

4677-1)1 .  L^Hi.m  Pins,  with  a  perforation  half-wa\'  down  the  shaft, 
were  used  as  dress-pins;  a  thread,  passed  through  the  hole  in 
the  shaft  and  tied  round  the  head  or  point,  served  to  keep 
them  in  place.  Vhcv  are  characteristic  of  the  Middle  and 
Late  Bron/.e  Age  in  (Cyprus  and  are  found  in  Eg\pt,  S\ria,  and 
at  Hissarlik  in  northwest  Asia  Minor,  but  are  quite  foreign 
to  (^rete  and  the  whole  area  of  the  Minoan  culture.  There 
are  sexeral  \-arieties:  — 

4''77-'^3'  with  small  indistinct  head,  like  that  of  the  unper- 
lorated  pins.     (^\prus,  PI.  v.  Ill,  lx\'iii,  8-9;  Ixix,  9. 

46H4-90,     with     large     conical     or     mushroom-shaped     head. 

Ill,  Ixviii,  7. 
4()9o  has  its  shaft  elaboratel}'  turned  as  if  groups  of  small 
beads  had  been  strung  upon  it.  Ill,  Ixix,  7. 

Similarl\-  decorated  pins  of  gold,  the  Late  Bronze  .Age,  ha\e 
the  e\elet  rejtiaced  b\-  a  separate  wire  loop  lashed  to  the  middle 
point  (jf  the  shaft. 

474 


HARLY     BRONZE    AGU 

4691  has  a  spherical  head  composed  of  man\' intersecting  dises.   Uroiize 
This  design  imitates  the  head  of  a  wooden  disiatf  suJi  as  is  still  V''^*"' 
commonl\-  used  in  C>-prus:  compare  the  line  siher  pin  ^14^  in 
the  Gold  Room.  Ls.  (>]  in.  --  2I  in. 

1-or  carl\'   arrow-heads,   of  a    Bronze  .Age   t\pe   common   on    the 
S\rian  coast,  see  4776-8  of  the  series  of  arrowheads  below. 


4O4S  4O50  403«  4();,s         4005         4(i-(,         4(»S(j  4(,SS 

LAlh     BRONZl-;    AGH 

The  .M\'cenaean  colonization  <if  (^xpriis  (p.  xxxi  brought  with 
it  the  skill  to  make  bron/.e  containing  the  full  proportion  of  tin 
(()-!!  percent),  and  this  new  allo\-  admitteti  more  eflicient   forms. 

4602-3.  n.\(,(,i-,R'-  are  now  made  uilh  a  brnad  Hat  tang,  to  which 
the  handle-jdates  are  ri\eled,  and  kept  m  p\ji:c  hv  a  flange 
along  each  edge  ol  the  tang.  I  he  hilt  ul  4()()  5  is  uns\  ninielri^al, 
like  that  of  the  one-rdgcd  Idades  which  brgm  to  api^ear  at  tins 
stage.  1  lu'Se  hilrr  daggrrs  arc  ottrn  madi-  l.irgi'  eiiDiigli  In 
ser\'e  as  su'ords,  ;ind  are  r\i-ntuall\'  ci»pu-vl  m  iron  1  )-_>.} 
below).  L.s.  slin..S^  m.  lll.lxu,   iii'"i^>- 

4094-7.  .Si'i.AK-1 1 1  Ai)^  arc  now  cKarb  disl  mguished  Irom  djuucr- 
blades;  for  tluw  h;i\f  a  Uibiikir  sockrt  to  mciosr  .iiid  proicii 
the  tip  of  the  shaft,  inslc;id  ■  I  a  Hal  tang  to  be  iiiMTlfd  in  ,1 
cleft.       I  he   so,  kri    is   fornud   ori;;inall\    In    bendm.u   ilif   Im^i 


475 


nil.    colli  (1  ION    Ol-     BKON/.l-.S    AM)    OBJliCriS    OF    IRON 

iinmze  ^f  the  bhulc  itself  around  iho  licad  of  the  shaft  and  securing 

"l  it    h\'   a    transverse   ri\et    (4(m)4);   but    the  later  examples  are 

east.  Nearh  all,  howexer,  retain  a  slit  along  one  side,  prob- 
abl\-  in  order  to  gi\e  enough  elasticity  for  a  firm  grip  on  the 
shaft,  rile  j-iroportions  of  the  midrib  \ar\ .  In  4(x)5-()  it  is  not 
more  pronunent  than  in  the  earl\-  dagger-blades  4616  ff. 
4(k)7,  on  the  other  hand,  shows  the  lour-winged  blade  alread\' 
noted  under  4()^-i-^4-  These  t\pes  all  go  on  into  the  Transi- 
tional Period  of  the  T.arlx  Iron  Age,  and  are  imitated  in  iron: 
compare  470S  \(.  bi.lo\v.  I.s.  14  in. — 4I  in. 

Ill,  l.xxii.  I  (4697);  Ixxiii,  5  (4694). 

4698.  ,\\i-.-HiAi)  v\ith  long,  narrow  blade,  slight  1\-  curxed,  with 
a  tubular  shaft  hole  strengthened  hv  external  ribs.  This 
remarkable  t\pe  is  foreign  to  (Cyprus,  but  has  been  found  in 
sexeral  parts  of  the  Sxrian  coast.  Its  precise  date  is  not 
certain,  but  it  probabl\'  belongs  to  the  Late  Bronze  Age. 
1..  S  inches.         Cxprus,  PI.  \'.  Ill,  I,  i. 

46()9.  SicKi.i-:,  with  curved  and  notched  blade,  bent  at  the  base  so 
as  to  enfold  the  handle,  like  a  modern  scvthe.  This  t\pe  also 
is  foreign  to  C\  prus,  but  occurs  commonlx'  in  Late  Minoan 
Oete.  L.  yl  in.  (Cxprus,  PI.  x'  (inaccurate). 

4700.  FiRH  Snoviu.,  with  twisted  handle  and  square  blade  bent 
up  at  the  sides;  the  l>  pe  is  characteristic  of  the  late  .Mxcenaean 
.\ge.  L.,  with  handle,  19  in.     W.  4  in.  Ill,  Ixxii,  5. 

To  this  ]U'riod  of  intimate  contact  xvith  the  Aegean,  and  with  the 
foreshores  of  Tlgxpt  and  Sx'ria  belong  also  a  fine  lotos-handle  from 
an  Lgx'ptian  xase,  and  some  masterpieces  of  (lypro-Mx'cenaean 
design. 

4701.  Hanui^Ii  of  a  Juc.  The  upright  part  is  formed  bx'  a  lotos- 
stem,  xvhile  the  petals  of  the  iloxver  spread  horizontallx'  to 
touch  the  rim  of  the  neck  xvith  their  tips.  The  form  and  stxle 
suggest  an  [{gxptian  nK)del  of  the  Will  or  XIX  Dx-nastx',  but 
similar  bronze  xxork  of  stronglx'  Lgxptian  stvle  has  been  found 
in  rich  Mx'cenaean  tombs  at  Enkomi;  probably  about  ;  V"'- 
1200  B.  C.         L.   vl  in.  Ill,  lix,  ^. 

Bronze  47<>--     Oni-.-handi  hi)   ji(,  with  oxoid  bodx',  xvide  neck,  and  sob\i 
Case  smooth   rim.      The  form  and  workmanship  are  not    xerx'  dis- 

tinctixe,   but   do  not  seem   to  be  of  any  later  txpe.      H.  Hjl  in 
(Ix'prus,   PI.  xxx.  Ill,  xlx  i,  1. 

476 


Centro 
Case 


iiir   (Oi, 1.1  (/HON   nv   hkon/i.s  and  ohji-cis  oi-   iron 

470^.  Kim  and  Handii  s  oi-  a  CwMi.dron  of  fine,  C^\pro-Myccnaean 
workmanship.  On  the  rim,  in  relief,  and  in  the  same  style  as 
4704  is  a  row  of  hulls  in  full  llight,  pursued  by  lions.  On 
eaeh  handle  are  three  hulls'  heads  in  relief,  with  long  incurved 
horns  and  aho\e  them  three  pairs  of  demons,  standing  face  to 
face,  witii  lion's  head  and  feet,  fish-like  back  and  broad  tail; 
the\-  ofTer  long-spouted  oinochoai  with  their  forepaws.  Prob- 
ahl\'  about  1^00-1200  B.  C  A  rim  of  closely  similar  work, 
founel  at  Kurion,  is  now  in  the  C\'prus  .Museum:  iMarkides. 
British  School  A)i}iiial,  1013,  94.  pi.  \'ii.  Colonna-Ceccald: 
.Monuments  de  C\'pre,  PI.  xix  (wrongly  described  as  a  mirror) 
Perrot,  fig.  555-6.  D.  15I  in.  Ill,  li\-,  \-i 


4704 


Centre   ^-^qa^     '1'ripod  of  late  C\'pro-.M\cenaean  workmanship.      1  he  \er- 
Case  .  .       .  "^  .     '    . 

lical   rim  is  decorated  with  lions  pursuing  stags,  m   thi'  sani'. 

478 


4703 


1111:  t;oLLi.t:rioN  oi-   bronzls  and  objlcts  of  iron 

st\le  as  47(M  but  less  carctullx'  retouched  after  casting.  On  the 
legs,  both  within  and  witiiout,  is  the  pahn-irond  design  t'amih'ar 
to  the  Oelan  "I'ahice  St\le"  (Late  Alinoan  II),  but  ingen- 
ioush'  rendered  in  thick  twisted  wire.  The  volutes  at  the  top 
of  each  leg  ha\e  a  real  structural  use,  to  stiffen  the  junction 
with  the  rim.  The  feet  end  below  in  cloven  hoofs.  Perhaps 
as  earl\-  as  1200  B.  C;  though  the  form  reappears  in  tombs  of 
the  "  nip\ion"  period  in  Greece.      H.  14.',  in.      C^xprus,  p.  335. 

lll,xliv,  4. 

Iironze  _^y,)s.       Irh'od,  with  upright   ring  and  bovsed  legs,  of  a  character- 

'\  istic  late  .Mwenaean  form  which  persists  in  (".\prus  all  through 

the  Karh'  Iron  .Age,  and  is  represented  on  the  engraxed  bowls 

4557,  4^()i.      11.^1,';  in.  Perrot,  fig.  63 1 .  Ill,lxiii,  2. 

EARLY    IRON    AGE 

It  is  not  certain  from  what  cjuarter  the  knowledge  of  iron  was 
brought  to  C^xprus.  Iron  was  known  in  Eg>pt  as  a  great  raritx 
from  the  earliest  dxnasties,  but  did  not  supersede  bronze  for 
common  use  until  tiie  XX\'l,  after  064  B.  C  Tribute  of  iron  was, 
howexer,  brought  to  Egxpt  from  North  S\  ria  under  the  XIX 
Dvnastx'  (i?5o-i2()()  B.  C.)  and  the  Biblical  description  of  jabin, 
King  of  Ha/or,  xxith  his  "four  hundred  chariots  of  iron"  probablx 
represents  the  state  of  things  there  in  the  fiarlx'  iron  .Age.  The 
famous  iron-xxork  of  Damascus  xerx  likelx  had  its  origin  in  this 
period.  On  the  other  hand,  the  (ireeks  ascribed  an  earlx'  iron- 
working  industrx'  to  a  people  xvhom  thex'  caPed  C-halxbes  in  North- 
eastern .Asia  Minor;  and  after  the  eighth  centurx'  both  thex-  and 
the  Phoenicians  of  Txre  obtained  iron  from  this  district.  Fhirdlx', 
in  the  fT)meric  .Age,  xvhich  represents  a  period  of  transition,  iron  xxas 
being  expcjrted  oxersea  from  the  Taphian  countrx'  in  the  northxvest 
of  Greece;  other  (jreek  traditions  point  to  (_".halcis  in  Euboea,  and 
to  the  West  of  (Tete,  as  earlx'  centres  of  iron  trade;  so  that 
there  is  some  reason  to  beliexe  that  xerx'  earlx'  .Mediterranean  iron 
xxorkings  lax'  in  this  direction.  Pr(!bablx-  when  once  the  dis- 
cover}- xxas  made,  hoxv  to  produce  iron  on  a  commercial  scale, 
iron-works  sprang  up  almost  simultaneouslx  in  many  separate 
regions. 

In  G\  prus  itself,  iron  was  xvorked  on  a  considerable  scale  round 
lamassos  an^i  also  round  .Soloi  on  tlie  northxxest  coast,  from  an 
earlx'  period  of  the  Iron  .\ge.  Iron  was  indeed  knoxxii  in  the  island, 
as  in   most   parts  of  the   .Minoan   xxorld,   for  a  short   period   before 

4  Ho 


I-ARIY     IKON    ACi; 

this,  but  was  rei;arclod  as  a  iirccious  molal,  and  u^ocl  onh'  for  rint^s. 
sceptres,  and  line  inlaid  work.  Its  magnetic  properties,  and  liie 
rapiditx'  with  which  it  deca\s,  probahl\  caused  it  to  be  regarded 
in  C\'prus,  as  elsewhere,  as  something  uncann\ ,  and  potent  tor 
good  or  harm;  a  belief  which  sur\i\ed  in  modern  superstitions 
about  blacksmiths,  and  the  "luck"  of  old  horseshoes. 
Kven  after  iron  had  come  into  common  use,  and  into  exclusixe 
use  for  a  few  specialized  t\pes  of  implements  and  weapons,  bron/e 
was  not  wholh'  disi^aced  in  Cyprus,  e\en  for  weapons;  spears,  in 
particular,  are  found  in  bron/e  associated  with  swords  and  kni\es 
of  iron.  For  detensi\e  armour  and  the  arrow,  bron/e  was  still 
preferred  all  through  the  Hellenic  and  (jraeco-Koman  ages.  The 
objects  which  belong  t()  this  period  or  represent  t\pes  which  origi- 
nate in  it  ma\    therefore  be  con\enientl\'  grouped    as  foll<)w>. 


A.     oBji-crs  WHICH  ari-  [oind  boih  i\  bron/i.  and  in  iron 

The  forms  of  the  weapons  dexelop,  for  the  most  part,  those  of  the 
Later  Bron/e  ,\ge.  The  transitional  >iH'ar-heads  are  rather 
shorter  and  wider  than  the  l.ate  Alinoan  t\pes.  and  not  so  flnel\- 
executed.  But  the\-  soon  break  out  into  experimental  t\pes, 
soon  superseded,  like  so  man\'  of  \hc  earl\  iron  forms  on  the 
Sxrian  coast,  and  in  southeastern  and  central  luirope.  1  h.e  cir- 
cumstance that  the  new  metal  had  to  be  hammered  into  shape 
at  a  forge,  instead  of  being  cast  in  mouKls.  perinnted  and  en- 
couragetl  that  indi\idualit\'  of  workmanship  w  liich  is  t  he  excelleiue 
of  all  iron-work. 

47o()-i2.      Siu  \K-lli.Ai)s  resemble  the  socketed  spear-heads  of  the   r.nni/t 
preceding   period,   with    leat'-shapeil    blade,    and    more   or   less  "^  ■■'""'' 
distinct     mi(.lrib:      47<i()-7    are    m     bron/e;    .170N-12     in     uon. 
I.s.   M   in.,  5.1  in.       (  ;\prus,  j^l.  \  .        1  1  I.  1,  4:  lxi\  .  ■-,  (bron/e). 
111.  lxxi\  .   >,  !  iron  e 

.^7M.  I  A\  1  i.iN-1  li  \i)  of  iron  for  a  small  t  hrowing-siH'ar.  with 
tubular  socket  and  unusuallx    broad  wings.  I..   \  in. 

.^714-!''^.  "  Sio-i  NN  \"-SiM  \l<-  of  peculiarh  ('.Vfiriote  sliape.  in 
whiih  the  wings  (winch  in  somf  l.;iie  .Mmoan  sprar-heads  :iri' 
hardh  wiikr  than  ihr  midrib'  disjiijifar  aliugrihtr,  lea\mg 
on  be  a  \  (■r\-  long  four-sided  spike  w  11  li  a  I  api'rmi:  sd^  k,l  brJMW  . 
Iht.'  form  \aries  a  lillie;  4717  is  of  Im-oii/c,  and  nmnd  in  s.h  ^ 
lion;   471''^   of   iron,    .md    fom- sidrd :    lin-    nsi ,    ol    brnn/,-   .imi 

four-sided,        lor     lllc     idelU  llu  ,il  loll     <  >\      tills    pr,  llll.ir     Wi.ipun 


Case 


IHH    COILHCTION    OF    BRONZES    AND    OBJllCTS    OF    IRON 

IP-  477)  '►^it'i  lti<-'  ancient  "sigynna",  see  i\l>Tes  (1907,  1910) 
in  the  l^ibliography;  also  Colonna-Ceccaldi,  Monuments  de 
C\  pre.     I.s.  27.1  in. —  11  in.  Ill,  Ixvii,  2,  4. 

4719-4720.  lU  TT-SiMKF.s  OF  Bronze  representing  the  ancient 
Cireek  saiirotcr,  from  spears  of  the  same  st\ie  as  the  spear- 
heads 47o()- 12.  rhe\-  ha\e  the  same  tubular  socket  as  the 
heads.  Around  4720  are  the  remains  of  a  ring  of  some  other 
material.  It  may  have  been  of  iron.  A  decorative  ring  of 
bronze  is  sometimes  found  thus  on  a  sauroter  of  iron.  And 
the  whole  butt-spike  was  sometimes  of  bronze  with  an  iron 
spear-head.         Ls.  6'>  in.,  7I  in.         III.  Ixxiii,  1-3. 

4721-2.  SocKHiHD  l.MPLi-.MENTS  of  bronze;  of  earl\'  fashion,  but 
uncertain  use.  The}'  may  have  been  used  as  chisels.  Ls.  7j 
in.,  b\  in. 

B.       .AXES,    SWORUS,    AND    KNIVES    OK    IRON    ONLY 

.\s  the  use  of  iron  became  established,  t\pes  of  implements  were 
de\eloped  which  were  less  suited  for  reproduction  in  bronze,  and 
are  onl\'  found  in  iron. 

4723-4.  .-\xi;-Hi;.-\DS  of  iron,  with  flat  narrow  blade,  like  the  early 
copper  axes  4635-46  but  thicker:  4723  seems  to  have  a  pro- 
jecting "stop"  on  each  side  like  the  early  axe-head  of  the 
Italian  Bronze  Age,  to  prevent  the  blade  from  being  forced 
backwards  into  the  haft:  it  is  much  corroded,  and  so  thick  that 
it  ma\-  ha\e  been  part  of  an  axe  with  shaft  hole,  which  is  the 
normal  t\'pe  in  the  Earl\'  Iron  Age.         Ls.  (j\  in.,  5  in. 


47^7 
4725.  SwoKD,  with  straight-edged  blade,  strong  midrib,  and 
deeply  flanged  tang.  This  form,  which  is  "'l"}pe  11"  in 
Naue's  Vorromiichc  Schix:erter,  is  a  northern  development 
from  Late  .\linoan  swords  and  daggers  like  4692-3,  which  are 
the  first  to  ha\e  the  flanged  tang;  and  is  best  represented  in 
bronze  swords  of  the  Transitional  Period  on  both  sides  of  the 
Adriatic,  and  in  the  earlier  straight-edged  t\  pe  in  iron  from 
Halos  in  .Achaea  Phthiotis.  The  iron  swords  of  the  Dipxlon 
cemeterv  in  .\thens  arc  of  slightlx'  later  and  heavier  t\'pe. 
T  he  handle-plates,  which  are  quite  deca\ed,  can  vet  be  traced 

482 


EARLY    IRON    AGE 

running  forward   to  a   blunt   point   on   the  front   edge  of  the  Bronze 
blade.  1..  27]   in.  \]]    lvv,\-    ^    "^-'se 


4720 

4726.  Sword  of  later  and  more  broadly  leaf-shaped  blade,  with 
very  wide  hilt-tang  without  flanges  and  protected  at  the 
edges  by  a  bronze  fillet:  onl\'  the  front  part  of  the  belt  is 
preser\-ed.     On  it  are  preser\-ed  two 

bronze  ri\-ets  and  traces  of  wooden 
handle-plates,  which  ended  in  a 
straight  margin  across  the  blade. 
This  t\pe  resembles  the  maturer  t\pe 
of  sword  at  Halos,  but  is  of  more 
curved  outline.  Similar  swords  are 
represented  on  the  engra\ed  bowl 
4554,  which  was  probably  made  about 
700-650  B.(].    L.  23.1  in.    1 II,  l.\.\i\,  I. 

4727.  HiLi  or  A  Sword  i.ikl  472(),  much 
damaged,  but  retaining  sil\er-headed 
bronze  rix'ets,  and  handle-plales  of 
turned  ivorw     I..  5  in. 

4728-9.  Knu'IiS,  with  one-edged  blade,  con\-e.\  (472<S)  or  conca\e 
(4729);  ami  llal   broad  lang.  ri\-eted  for  handle-iilales.  Is. 

SI  in.,  ()\  in.  Cvprus,  PI.  \-.  III.  Ivi.  =,. 


C.     I  IIU    l.AI. 

f-'ibulae.  or  safel  \ -[liiis,  were  introduced  into  (Aprus,  iirob.dMx' 
from  the  \\\st,  in  tlu'  laUsi  jii-riod  n\  ihe  Wmu/r  Age.  The  tMrliest 
t\pes,  made  (if  slender  wire,  like  a  inddrrn  salri\-pin.  are  foinid  ni 
the  L.ale  .Mnioan  lonibs  ol  1  he  I  hird  or  .M  \\  rnacan  phase  m  (  irrt\  c 
and  Oete,  and  also,  withoul  xarialion,  m  la  kr-dw  ellin^s  ;it  I'fs- 
chit'ra  in  Lake  (jjrda,  .in<l  on  a  nninbrr  o|  oilirr  ^ihs  .iround  ilu- 
head  of  thr  Adrialic;  lltnr  ceiurr  of  ori.L'in  is  ihcrrloic  pioi\iM\ 
soniewherr    in    the    norlhwrsUrn    p.irl    o|    llii-    llalkan     i'l  ninxul.i. 

4'^- 


Bron/0 


nil     COl.l.ll    I  ION    ()1-     l?RON7.i;S    AND    OBJI-CIS    t)l-     IRON 

I  lu'so  were  iiitrociuccd  into  (".\  prus  in  the  lalor  da\  s  ot  the  M\ccn- 
acan  colonics,  aiitl  soon  suporsoded  the  natixc  eyelet  pins  4()77-9i. 
In  ('.\prus  this  earh'est  t\pe  onl\-  oeeiirs  in  kite  .Mycenaean  tombs; 
but  tibulae  of  hiter  \  arieties  are  common  in  tombs  of  the  luirh'  Iron 
Age  (  1000-700  P).  ('..).  The  subsetiuent  course  of  dexelopment  of 
the  tibuhie  in  Ital\  and  in  dreece  is  now  accuratel\'  known,  ami  con- 
seciuenlh  all  fibulae  are  of  the  greatest  archaeological  importance  as 
dale-marks.  Tow  ards  the  close  of  the  I{arl\'  Iron  Age,  and  apparenth' 
earlier  than  in  most  parts  of  (ireece,  tibulae  pass  out  of  use  in  (Aprus, 
probabbc  not  much  later  than  7(X)  15.  C;  and  are  superseded  parth' 
h\'  buttons,  parth'  b\  the  use  of  slee\ed  and  shaped  garments  of 
Oriental  fashion,  wh.ich  did  not  require  such  fastenings. 

With  the  examples  described  below  should  be  c(jmpared  the  fine 
series  of  gold  and  siher  fibulae,  3i()8-3209,  in  the  Collection  of 
Ornaments. 

FiBLL.M-.  or  r"!  I'l-.  1  are  not  represented  in  this  C^ollection.  This 
t\pe  is  of  long  and  narrow  proportions,  like  the  modern 
safe! \ -pin,  or  a  tiddle-bow.  and  was  introduced  into  Cypro- 
.Mycenaean  colonies  at  the  end  of  the  late  Bronze  .Age  (about 
1200  B.C.). 

4730-^  I'lBiL.M-.  OF  Vwh  11  begin  in  the  Transitional  Period 
of  the  Harl\'  Iron  .\ge,  and  remain  in  use  in  the  .Middle  or 
Oeometrical  Period.  In  this  l\pe  the  bow  is  cur\"ed  almost 
to  a  semicircle,  and  is  slightly  swollen  in  the  middle.  Its  ends 
remain  sxnimetrical  with  each  other,  and  there  is  no  stilted 
tore-end  between  the  bow  and  the  catch,  as  in  !>  pe  III. 
Sometimes  the  bow  is  thickeneck  or  ornamented  at  either  end, 
or  throughout  its  length,  with  collars  and  beads,  imitating 
I  he  actual  beads  of  amber  and  glass  paste,  which  are  found 
strung  on  the  bows  of  some  western  fibulae.  Compare  the 
siher  tibulae  3i()()-^2o^  in  the  (Collection  of  Ornament;.. 
I  .s.  Tin.  —  2  in.  Ill,  Ixiii,  4  (47  50)  and  i  i  (4733  k 

47^4-40.  FiBiLAi-.  or  \'\vh  III  also  begin  in  the  Transitional 
Period  (1200-1000  Ik  C).  I  \  pe  III  dilTers  from  I  \pe  11 
in  the  stilted  lore-end  which  interxenes  between  the  s\mmetri- 
cal  bow  and  the  catch,  and  sometimes  between  the  bow  and 
the  si">ring;  it  is  designed  to  permit  the  inclusion  of  a  larger 
U)ld  ol  drap'crw  I  he  bow  itself  is  usualh'  shorter,  and  more 
swollen  than  in  T\  pe  II,  but  (like  it)  carries  \arious  collars 
and  beads  cast  in  one  piece.     Compare  the  gold  tibula  of  this 

484 


EARLY    IRON    AGH 


type,  3198  in  the  Collection  of  Ornaments.      The  stilt  of  4737,   lirunzc 
4740,  is  single;  in  4735,  4738,  4739,  it  is  double;  in  4734,  double  ^^'"'' 
in  front,  and  single  behind,  above  the  spring.     On  the  how 
of  4740  are  three  globular  beads,  and  then   a   plain   rectangu- 
lar  block  occup\-ing  nearl\'  a   quadrant   of  the  whole  curve. 


4730 


4734 


473^ 


4741  4744 

Compare  the  siKit   fUMilac    ^204-7    m   I  he  ( '.()lh\"l  ion   of()rna- 
ments.  1  .s.  2  |  m.        1   in. 

ill,  Ixni,  ().  S  (diiuble-Nt  ill  ).  10  '47  M  1,  12  (4740). 
4741-9.  1  imi  \i  01  I  vi'i:  1\  arc  fdiiiul  in  Inmbs  i,f  i  hr  Cn-n- 
nictriLal  1\tiihI  jnd  nia\'  prrhaps  brum  .is  cjrh"  as  the  I  raiis- 
ition.  In  lhi>  t  \  pe  tlir  pin  is  cur\i'd,  and  liif  ailcli  jiri  il,  miu-d 
lo  a  sharp  |ioiiit  in  from,  as  in  main  of  I  In-  hiUr  (jrcrk  and 
llahan    libuhn-.       Ilir   b<iw"   is   in    iwn   iiuur\i'd    haK^'s.    uniii'd 


I '^5 


Till:  c.oLLia.rioN  oi-   bkonzus  and  objects  of  iron 

Ik(MiZ(.-  mid\\a\-  h\-  a    knob   and   collar,  whicn   seem   to  represent   an 

*"''^''  obsolete  U-shaped  spring  like  that  of  the  "serpentine"  fibulae 

of  the  Adriatic  region,   and  of  the  Latest   Minoan  phase  in 

Crete,  with  both  of  which  this  t\pe  ma>'  perhaps  be  connected. 

Ihere  is  some  \ariation  of  form,  as  follows: — 

4741  marks  an  experimental  approach  to  the  "serpentine" 
t\pe,  with  long  pointed  catch.  .-\t  the  loop  the  bow  is  flat- 
tened, and  its  two  lateral  parts  are  leaf-shaped.     Illjxiii,  9. 

4742  has  the  central  knob  and  collar  cast  in  one  piece,  but  the 
knob  is  cut  a\va\'  at  each  side  in  such  a  wa\-  as  to  betray  its 
derixation  from  a  loop  like  that  of  the  "serpentine"  fibulae  of 
Itah'.  The  collar  was.  no  doubt,  added  unintelligently,  to  pre- 
\ent  such  a  loop  from  being  strained  open,  in  a  fine  example 
of  this  t\  pe,  in  the  Ashmolean  .Museum  at  Oxford,  this  decora- 
tion of  the  knob  has  been  simplified  to  a  mere  round  hole  in 
each  side.  The  rest  of  the  bow  is  cast  solid  with  a  pair  of 
wide  angular  collars  on  each  limb,  between  which  are  "double 
axes,"  a  well-known  sx'mbol  of  the  chief  deit\'  of  .Minoan 
(]rete.  In  Sicil\',  fibulae  of  the  Late  Bronze  .Age  are  found,  in 
which  such  "double  axes"  are  strung  as  separate  amulets 
on  the  thin  wire  of  the  bow.  Compare  with  this  fine  example 
the  siher  filuila  3209  in  the  Collection  of  Ornaments. 

474 3-c)  ha\e  a  central  knob  which  has  lost  its  side  decoration, 

and  is  slightl\-  flattened  laterally.      In  4743-7  it  is  four-sided, 

and   in   474S  smaller  and   oli\e-shaped,   with   a   narrow   neck 

abo\c  the  collar.      B\-  this  time  its  meaning  has  been  quite 

forgotten.        Ls.  2^  in.  —  5  in.        Ill,  Ixiii,  0  (4741);  5,  (4744). 

Three  late  fibulae  are   grouped  for  convenience  with  these  earl\ 

forms.      It  is  \er\-   unusual  to  find  such  fibulae  in  Cxprus;  though 

47t2  is  of  a  central   European  t\pe  which  spread  widely  through 

the  Koman  Lnipire. 

4750-1.  LiBLLAii  OF  Latf:  " L.-\  Tenh"  Type,  with  double  spring- 
coil,  probahl\-  of  the  fourth  or  third  centur\'  B.  C.  Its  home 
is  on  the  north  side  of  the  .Alps,  but  examples  are  known  from 
ltal\-,  the-  Ikilkan  Peninsula,  and  e\en  from  Carthaginian 
Atrica,  probablx'  sjireati  b\'  Gaulish  mercenaries,  and  later  in 
the  third  cenlur\"  B.  (].  by  the  Gaulish  in\aders  of  Greece  and 
.Asia  .Minor.  Ls.  I'l,  2  in.  Ill,  Ixiii,  7. 

4752.  IiBLLA  01  "("koss-Bow  "  lAi'E,  in  which  the  double  coil 
is  reduced  to  a  solid  and  useless  ornament,  and  the  pin  mo\es 

486 


HARLY    IRON    AGU 

on  a  hinge  as  in  modern  brooches  which  are  direcllv  descended 
from  this  t\7)e.         L.  2  in. 

D.       OTHHR    OBJIXTS     IN     BRONZH,    OF    THh     HARL'!'    IRON     AGE 

Here  are  grouped  a  number  of  bron/e  objects  which  are  assignable 
on  grounds  of  st\le  to  the  Earl\-  Iron  Age,  down  to  and  including 
the  Period  of  Oriental  Inlluences. 

4753.  Kmki-.-Mandle  of  bronze,   jXTforated  at  the  butt  end   to  p.^nn/e 
carr\'     a    suspension-ring,     and     decorated    with    geonietrica!  (iase 
patterns;  the  blade  was  one-edged  and  of  iron,  secured  b\    a   ' 
long  spiked  tang.     This  kind  of  handle  is  unfamiliar  in  the 
Levant,  and  resembles  rather  the  knife-handles  of  earh    llah  . 

L.  3!  in. 

4754.  Shield  Boss  of  the  pointed  form  which  was  introduced  from 
.\ss\Tia  in  the  eighth  centurx'  and  is  represented  frecjuenth' 
on  earh'  figures  of  warriors,  such  as  the  bell-shaped  \ase  74(), 
and  2098  If.  in  the  (Collection  of  i'erracoltas.  .\  tine  example 
of  this  t\'pe  from  .\mathus  (CCxprus,  Fl.  .\x,  Perrot,  hg.  ()V); 
not  in  this  (Collection)  is  embossed  with  a  /one  of  lions  and  bulls 
in  Oriental  st\le.     .About  7oo-()tO  B.  {'..  !..  3',  in. 

4755.  .Ar.molr-Bi-.i.'i  of  bronze  plate,  with  long  hook-and-e\e 
clasp;  the  small  holes  in  the  edge  show  thai  it  was  intended 
to  be  lined  with  ieallier.  The  great  length  of  the  hook  is 
designed  to  permit  ample  adjustment.  1..    14',  in. 

475()-()3.  Fraomenis  01  \  Ihu'od,  consisting  of  two  goat 's-hoof  fironze 
feet  (473(»-7)  and  six  bull's-head  joints  (47S^-(m)  ^dl  of  bron/e. 
and  socketed  to  connect  the  bars  of  an  iron  fr;ime.  corrodrd 
fragments  of  which  still  adhere.  '!  he\  rec;dl  the  ditlicultii'> 
of  primiti\e  smiths'  work  in  the  da\s  before  (ikiukos  tlu' 
Samian  "inventetl  the  welding  of  iron. ' '  1  he\  ma\  be  of  the 
eighth  or  ninth  a-nturx  ,  for  the\  show  sur\  i\  als  ot  .M  \  cfn;ie;in 
handling,  anti  onl\  \er\  little  trace  of  ()rii'ntal  inlUicncc'. 
Cyprus,  PI.  XXX  (bull's  head).  Perrot.  Iig.  (>>,2  dooi  with 
iron  filling).  1  P.  2 ,'  in.       Si^  in.  111.  lii.  >,. 

47()4.  Oin<jc;ioi.  of  thill  hammered  bron/e,  wit  h  clums\  bod\  ,  w  idr 
neck,  and  solid  handlr  modelled  as  tin-  tmniiial  siKike-heatI 
of  a  firaoT't  like  '072  II.'  but  of  earlier  work,  it  scrnis  to  be 
of  the  l-:arl\    Iron  Agr.  I  I.  (>;  m.  I  I  I.  1.   ',. 

47()3.      IvAoi.i  ,  of  \rr\    rugged  ()rienial  modelling,  with  oiilspie,!,! 

4«7 


nil     coil  1(1  ION    Ol      HKON/.I.S    AM)    OiiJhCTS    Ol-     IRON 

ikdiizo  winys,  i^icat  elaws,  ami  c\cs  of  ^lass  paste  (one  is  missing);  il 

solmiis  to  ha\c  been  the  ornaniont  of  a  tripod  or  a  \ase  handle; 
and    is    probahh'   of    the    eighth   eentury.  H.   4    in.      C\'- 

priis,   PI.  \x\.  Ill,  Ixv,  4. 

47()()-7.  \'()ri\i-  SiAiri/nis  of  a  stag  4766  and  a  goat  4767 
roLighl\'  cast  in  a  rude  Init  \igorous  style  and  niuijh  corroded; 
probahh'  of  the  eighth  or  ninth  century.  H,  51',,  in.,  45  in. 

(h  prus.  PL  x.xx.  ,  111,  lx\',  5. 

4700-70.  .Maci:  HhAi)  AM)  I'lTTiNCiS.  The  head  4768  has  a  wide 
shaft  liole  and  l\\(i  hemispherical  lobes,  radialh'  groo\ed.  ll 
is  cast  in  a  hea\\-  Oriental  st\le,  and  is  probabl\-  not  later 
than  the  se\enth  centurw  The  smaller  object  4769  has  a 
head  of  the  same  fashion,  supported  on  a  long  tubular  socket, 
grooved  in  sections  longitudinall\';  it  ma\'  be  fron^  the  shaft  of 
the  same  tripod  or  a  similar  mace,  or  perhaps  part  of  a  large 
pieceof  furniture.  The  third  titting477o  is  a  tubular  shaft  in  a 
rather  ditl'erent  st\le,  from  a  mace,  tripod,  or  large  lampstand. 
Hs.  2\-\  in.  3.1  in.  7s  in.  Ill,  li,  2  (47O8);   Iv,  1  (4769). 

4771.  ScHi'iKi-  OR  MACH-HhAt),  with  a  plain  tubular  socket  end- 
ing abo\e  in  a  group  of  three  bulls'  heads,  \igorousl\'  modelled, 
with  e\es  and  forehead  hollow  to  receixe  inla\  or  enamel. 
The  coloured  paste  beads  now  in  the  exes  do  not  seem  to  be- 
long to  the  mace-head,  but  the  crescent  of  red  enamel  is 
original.  This  fine  object  is  in  archaic  Orientalizing  st\  Ic,  and 
max'beofthe  seventh  or  sixth  centurw  IT  y\\\  in.  Oxprus. 
PI.  xxxiii.   Perrot,  tig.  5()4.  Ill,  lii,  2. 

Bronze  4772-^.      HoRsii-Bris,    both    probabl\-    of   Orientalizing   or    Earlx' 
^-•'*'-'  Hellenic  date:  the  t\pe.  with  two  linked  bars  in  the  mouth, 

between  cheek-jiieces  of  flat  openwork  (4772).  is  common  to 
(Greece  and  the  Nearer  Hast:  a  line  example  of  it  in  the  (]\prus 
.Museum  (C..M.C.  3841)  has  the  cheek-pieces  ornamented  with 
Oriental  palmettes.  Ls.  12:,'  in.,  5 '1  in.         Ill,  xl\'.  2  (4769). 

ikonze  4774"T-     Shlphhrd's  C^KooKS,  of  cjuite  uncertain  date.        Ill.h,  2. 
Case 

h.        \RROW-HHAl)^,   OF   VARIOLS    I'tRIODS   AND    1  VPl-.S 

Bronze  Arrow-heads  are  not  \  er\'  often  found  in  tombs  or  under  circum- 

*^-'ise  stances  which  permit  them  to  be  accurateh'  dated       1  he  majoritx' 

are  t'ound  on  the  surface,  where  the\    were  originallx    lost   in  the 

war  or  the   chase,    \  et   several   tvpes  mav   be  distinguished,   and 

488 


47?4 


4753 


47.S(, 


47'^' 


THH    COLLECTION    OF    BRONZES    AND    OBJECTS    OF    IRON 

placed  in  an  approximate  order  of  date,  mainh'  with  the  aid  of 
Kgxptian  and  Palestinian  date-marks. 

„  4770-8.     PRi.MiTiNb  Orihntal  Tvpt,  with  Hat  leaf-shaped  bhadc, 

Bronze  ^'  '       .  .      .  •  1     1  1  ■ 

Case  shght   midrib,   and   long  tang   intended   to  be  thrust   into  a 

I  shaft  of  reed  or  light  wood.     Such  arrow-heads  are  common 

on   the  S\rian   coast,   and   ha\e  been   found   in    Bronze  Age 

strata  on  sites  in  South  Palestine  and  at  Ph)lakopi  in  Melos 

(Excavations  at   Ph\  lakopi,   PI.    xxxviii,  6).     The  t\pe  ma\', 

however,  have  persisted  there  and  elsewhere  into  later  times. 

Ls.  si  in.,  24  in.,  \l  in.         C\prus,  PI.  v. 

4779-Hs.  Later  Oriental  T-^pe  with  solid  four-sided  head,  of 
either  straight-edged  tapering  outline  (4770-81)  or  leaf-shaped 
profile  (4782-1).  In  either  case  the  tang  is  long  and  much 
thinner  than  the  head,  just  as  in  the  flat  t_\pe  (4676-8).  .Arrow- 
heads of  this  t\pe,  from  the  battlefield  of  Marathon,  are  in 
the  British  Museum  (Handbook  of  Greek  and  Roman  Life,  p. 
100,  tig.  86).         Ls.  j,\  in.  —  2},  in. 

4786-8.  Hellenistic  (Oriental)  Type,  in  which  the  head  is 
solid,  triangular,  and  sometimes  barbed  (4786),  with  a  distinct 
midrib,  and  a  stout  four-sided  tang.  It  is  common  in  all  the 
Nearer  East;  but  does  not  seem  to  be  earl\',  but  to  replace 
the  older  Oriental  t\pe  of  4776-78.  Ls.  2f  in.,  24  in.,  \\  in- 
Cxprus,  PL  v.  Ill,  Ixxiii,  6. 

4780-93.  Hellenic  or  Western  Type,  with  tubular  socket,  to 
tit  over  the  end  of  the  shaft,  and  three  ridges  or  wings,  with- 
out barbs:  this  is  the  Greek  fridocbiii  or  "three-tongued " 
arrow-head,  and  seems  to  go  back  to  the  Earl\'  Iron  .Age.  It 
is  not  known  how  long  it  persisted  in  competition  with  the 
Oriental  t\  pe.  Ls.  if  in. —  I4  in.  HI,  Ixxiii,  4. 

BRONZES    OF    LATER    PERIODS   AND    STYLES 

The  rest  of  the  Collection  of  Bron/.es  is  grouped  so  as  to  show  the 
de\elopment  of  st\  le  within  each  principal  class  of  bronze  objects, 
trom  the  close  of  the  Larl\"  Iron  .Age.  Most  of  the  objects  belong 
to  the  Hellenic  .Age,  and  fall  more  or  less  into  line  with  similar 
objects  from  other  parts  of  the  Greek  world.  Some,  ht:we\er, 
show  I^gyptian  or  other  Oriental  influence,  and  a  few  max  e\  en 
be  of  Oriental  origin.  The  principal  classes  are  mirrors  and 
other  small  articles  for  the  toilet,  dress,  or  other  daily  use;  \  ases 
and  their  parts;  furniture  and  its  fittings,  including  locks,  hinges, 

4<jo 


LATHR    PHRIODS    AND    SI^l.HS 

and  other  parts  of  boxes;  statuettes  and  other  decorati\e  objects. 
On  the  other  hand,  the  few  tibuhie  and  arrow-heads  of  late  dates 
are  grouped  above  with  the  similar  objects  of  the  Harl\'  iron  Age. 

MIRRORS    AND    SMALL    ARTlCLhS    OF    THE    TOILLT    OR    DAlL'i'    LSL 

The  fine  .M\cenaean  mirrors  of  circular  form  with  car\ed  i\-or\' 
handles  are  unrepresented  in  the  (Collection.  Nor  are  there  here 
examples  of  the  oblate  Eg\plian  t\pe,  which  was  imported  occa- 
sionallx'  in  the  seventh  and  sixth  centuries.  Under  Greek  influence 
there  follows  in  the  sixth  and  fifth  centuries  another  circular  tx'pe, 
dexeloped  in  the  West  from  the  Egxptian  form,  or  perhaps  even 
inherited  from  the  M\xenaean,  though  examples  of  Earlv  Iron  .\ge 
are  exceedingly  rare  and  doubtful.  Some  of  these  circular  mirrors 
had  elaboratel\-  modelled  stands,  like  the  earl\  statuette  (5013) 
below;  but  most  of  them  are  for  hand  use. 

4794-4801.  Hellenic  Mirrors  of  the  sixth  and  fifth  centuries. 
These  have  a  nearl\'  circular  disc  supported  b\  a  \olute  capital: 
below  the  volutes  projects  a  tang  for  insertion  into  a  handle 
of  wood  or  i\or\\  The  fine  detached  volute-capital  and  tang 
4801  belonged  to  a  mirror  of  the  same  series;  the  plain  tangs 
4822-3  are  later.  Ds.  ()]  -     ^l  in.         (!\prus,  PI.  iv  (plain). 

IllJxi,  3, 
4802-15.  HiiLLi-.NisiTc  andGkai;c()-R<)Man  .Mirrors.  rhist\pe, 
which  was  in  \oguu  from  the  third  centurx'  B.  (].  to  the  third 
or  fourth  cenlurx'  .\.i).,  is  t]uite  different.  It  ha^  a  lieaxy 
circular  disc  of  cast  and  turned  bronze,  and  has  usuall)' 
no  tang,  but  was  held  in  the  hand:  4H11.  however,  has  a 
swinging  handle  added,  with  bull's  head  sockets  of  bron/e. 
These  discs  were  made  in  p:iirs.  which,  bv  me;ins  of  ;i  lUinged 
edge  and  low  c\iiiulrical  run,  were  fitted  into  one  ;inother  like 
dinner  plates,  :ind  were  jioliNluxi  ri-s]H-ct i\el\'  on  the  recessed 
(480(^-1  t)  ami  the  prominent  '4S02-S)  siirlace.  l-;uli  mirror  of 
a  p;iir  was  thus  i>rotecteil  from  chimage  b\  the  other,  and  nuide 
easih'  j-iorfable.  Iht,'  i^xjiosi'd  surface  of  each  w;is  decor;itrd 
with  concentric  mouKlingN  and  sdinrt  inies  enriched  with  con- 
centric circle  ornaments  (4S02,  4So(,,  4S07)  l)s.-T;in.—  2I 
m.  G\prus,  PI.  i\  14SM  ).  1 1 1.  Ix,  2,  4;  Ixi,  1 .  2  (4S1  1  ). 
4K16-21.  ( "iK  \i  CM-RoM  w  MiRKoRy,  consisting  sinip]^-  ,,f  ;i  p]jin 
circular  disc  withoiil  Ihingc,  rim,  or  h;iiulle.  but  perforaud 
with  small  hoKs  rouiul  the  ciIl;!-:  4X20-J  i  ,irc  simikir.  but 
unperlorated,       I  he  unperfor:it  cd  scjuare    plaU' 4()()S  ni,i\   p'T- 

4')' 


Ikonzi 
Case 


2 


THI-;  c()i.ij;(  rioN  o\-   i^ronzhs  and  objects  of  iron 

lUonze  haps  be  a  mirror,  not  a  box  plate  as  described  below.     Such 

^'^^^'  square  mirrors,    lliough    unLommon,    were   certainlx'    used    in 

Graeco-Roman    times.  l)s.  4   in.  —  2   in.  Ill,   Ix,    i,   3 

(perforated). 

4S22-^.  Two  Plain  Ianc.s  of  late  date  ma\'  ha\e  belonged  lo 
mounted  mirrors  of  this  late  type.  l)s.  34  in,  3^  in. 

4824-8.  SfKioiLS,  with  which  to  scrape  the  limbs  after  bathing  — 
a  common  substitute,  in  all  Greek  lands  for  soap  and  for 
massage  are  found  in  the  richer  (^xpriote  tombs  from  the 
end  of  the  sixth  centur\'  onwards.  The  form  \aries  slighth'; 
4S24  ma\'  be  of  the  fifth  centurx;  the  rest  are  later;  4825  has  a 
Roman  maker's  stamp,  l...M\'G.I".  "Lucius  .Mucins  was  the 
maker."  Iron  is  sometimes  used  for  strigils  (4827-8)  instead  of 
the  more  usual   bron/e.  Ls.   ()4    in. —  5    in. 

Ill,   hi,   4  (iron) ;  I,  5  (4825). 

482()-s4.  ToiLH  r  ARiicLrs  and  Sir('.k;ai,  Instki  mhnts.  These 
are  often  difficult  to  distinguish;  since  small  pointed  objects 
of  this  kind  were  of  course  familiarl\'  used  for  man\'  purposes, 
like  our  needles,  pins,  and  scissors.  The  sword-hilled  pin 
482()  ma\'  be  as  earl\'  as  the  fiflh  centurx';  the  rest  seem  to 
be  all  of  Hellenistic  or  Graeco-Roman  date.  The  tweezers 
4830  ((A  prus,  PI.  \)  were  used  for  remoxing  hairs  or  extract- 
ing thorns:  this  example  is  late,  and  is  easil\'  distinguished  from 
the  Bron/e  Age  forms.  Dipping-rods  like 483  1-^  ((Cyprus,  PI.  v) 
were  for  dispensing  single  drops  of  perfume  or  precious  oint- 
ment: 48^4  has  a  ring  at  one  end,  likewise.  lo  the  same  class 
belong  the  miniature  spoons  4835-7,  and  ladle  4838  for  perfume 
or  drugs,  the  spatulae  48^0-43,  bistouries  4844-5  ((Cyprus,  PI.  \) 
anti  medical  probes  484()-(),  ear-picks  4850,  and  pins  483 1-2.  The 
miniature  fork,  4813,  ma\'  be  surgical,  but  the  double-forked  ob- 
ject 48S4  is  more  probabl\'  a  netting  needle,  l.s.  8  in.  —  3 J  in. 
Ill,  lxi\-,  I  (4838J,  2  (4854);Ixviii,  3  (483());  4  (4''^5  3);  5  (4^3  0; 
Ixix,  I  (4837),  5,  4  (48:51-2);  8  (4837);  11  (4<V');  ■''^  i4^y))- 

48s 5-().  Stalks  for  writing  on  wax-tablets,  the  commonest  ap- 
pliance for  ancient  note  taking  and  correspondence.  .\  Greek 
(jr  Roman  recognized  a  man's  writing  b\'  his  "st\ie"  as  we 
recognize  his  "hand"  or  his  "pen,"  and  the  metaphor  has 
passed  into  common  speech.  The  flat  back-end  of  the  style 
was  used  to  "erase"  or  scrape  awa\'  mistakes  from  the  wax 
Ls.  4I  in.,  4]  in.  Ill,  Ixix,  12. 

492 


LATHR    PERIODS    AND    STYLES 

Among  ihe  poorer  classes,  as  in  all  ancient  countries,  bronze  was  l^ronzt 
commonlv   emplo\ed,    either  plain   or  gilded,    instead   of  gold   or  '■^''^^' 
sil\-er,    for    personal    ornaments.      Its    use    becomes    commoner    in 
Hellenistic  and  Graeco-Roman  times. 

4857.  Ne-xklace  of  BhADS,  each  shaped  as  a  pair  of  human 
breasts,  a  s>-mbolic  charm  to  ensure  the  protection  of  the 
Mother  Goddess  (p.  123).  'I'his  is  an  unusuall\-  tine  and  earh 
example  of  bronze  je\velr\-;  it  ma\  be  of  the  seventh  or  si.xth 
centurx'  B.  C.      L.  of  necklace  3  ft;  I.,  of  each  bead  I  in. 

4858-61.  Small  FiglriiS  and  Phndants.  The  cock  4858  may 
be  earl\',  and  is  perhaps  xotixe;  the  Oriental  head  48t()  is  also 
earl\-,  but  the  tish  4860,  and  the  medallion  4861  with  a  repre- 
sentation of  the  huntress  .Artemis,  are  probablx  Graeco- 
Roman.  Ls.  2 1  in. —  4  in. 

4862-7.  Small  Bhlls  were  used  at  man\'  periods  as  personal 
ornaments  and  as  charms;  for  example,  in  the  fringes  of  the 
garments  of  the  Israelite  High  Priest,  where  the\  seem  to 
de\'elop  out  of  a  lotos-pattern,  "a  knob  and  a  tlower."  Hs. 

2  in. —  I  in.         (^\prus,  PI.  iw  111,  Lwiii,  i,  2. 

4868-c).  Blttons  of  large  con\ ex  disc-shape,  jierhaps  from  harness. 
Ds.  I  ,^  in.,  2  in. 

4870-80.  Brachlh'is,  of  \ari(jus  periods  and  st\les:  4870-2  are  of 
the  fifth  centur\  I).  (.'..;  the  rest  are  of  uncertain  but  later  date. 
The  commonest  l\pe  has  the  rnds  more  or  less  overlapping; 
sometimes  the\'  are  ornamenlrd  with  the  heads  of  snakes  or 
animals;  in  4877  the  o\crhiiiping  ends  are  llatti-ned  and  held 
together  hv  a  ri\i-t.  .Ml  these  bron/c  hracekis  are  poor  copies 
of  the  l\pes  which  are  usual  in  gold  or  silxer:  compare  the 
large  series  of  such  bracrlets  in  the  Gollection  of  (  )rnaments. 
l^s.  4h  in.         i  \  in. 

4881-4.  (Ambals,  with  hok-  in  centre  lor  the  attachment  of  tlu' 
handle.  I  )s.  2  ,'  in.       2  in. 

4S85-6.      I<i\(,   AND  GiiAiN,   jierhaps   from   harnrss.  l).ol    ring. 

I  \  m. ;  I.,  of  cham  s  ui- 

4887-().      1)1  cKi.i^  of  kill'  and  wholh    weNti-rn  origin.       I  hr\    onl\ 
ajipi'ar  rarch,  even  in  1  he  (  irarco-KoiiKin  tombs.      Is.  2  in. 
1  \  in.  (  A  iirns.  PI.  i\ .  Ill,  Ixiii.  1 .  -'.',. 

I  wo  late  lilnikir  47tO-2,  w  hu  Ii  are  as  ure  in  (  .\  pi  us  .in  i  he  Inu  kk-s, 

ha\e  hvvn  alread\   dfscrilit-d  alio\f  witli  the  rest  of  the  likuku'. 

4')') 


im-:  c.oLLi-A HON  oi    bronzhs  and  objects  of  iron 

l^ronze  BRONZI-     \ASIS    AND    THHIR     PARTS,     VARIOUS     Pl-RIODS 

<^->se  AND    STYLES 

The  majoritx'  of  the  bronze  \essels  which  arc  found  in  ancient 
tomhs  and  sanctuaries  are  made  of  hammered  plate  so  thin  that 
the\-  ha\e  often  sutTered  irreparable  damage.  Their  handles,  how- 
e\er,  which  were  cast  solid  in  a  separate  piece,  are  more  durable, 
and  as  it  is  on  them  that  much  of  the  ornament  is  placed,  the\ 
are  \aluable  records  of  decorative  art.  The  examples  which 
follow  are  grouped  lirst  according  to  the  shape  of  the  vase  which 
the\  adorned,  and  in  order  of  date  within  each  group. 

4890.  Handle  of  a  Bowl,  surmounted  b\'  a  bird;  the  handle  is 
of  a  t\pe  familiar  in  the  mixed  Oriental  st\le  of  the  seventh 
centur\'.     C'ompare  the  complete  bowls  4916-1(8.  L.  4  in. 

4891-6.  Handles  oe  Oinochoai.  Of  these  4891 ,  in  the  form  of  a 
bird,  and  4892,  with  projecting  leaf  ornament,  are  work  of 
the  seventh   or  sixth   centurx',   under   Egyptian   influence. 

Ill,  lix,  I  (4891I. 
4893  with  volutes  and  twisted  stem  is  of  the  sixth  or  earl\- 
fifth  centurw  HI,  hiii,   t. 

4894-5  are  probabl\'  a  little  later;  the  double  stem  is  frequent 
in  the  handles  of  clay  \ases  of  this  period.  HI,  hiii,  2,  lix.  3. 
4896  with  plaited  stems  and  vine-leaf  attachment  is  not  earlier 
than  the  third  century  and  ma\'  be  Graeco-Roman.  Ls.  10}  in. 
—  44  in.     C\prus,  PI.  iv  (4896).  HI,  lix,  2 

4897-4912.  Handles  of  Bowls,  Kvlikes,  and  H'^driae.  .All 
Hellenic  or  Hellenistic,  except  the  bowl-handle  4897,  with 
archaic  lotos-bud,  which  belongs  to  the  same  earl\-  se\enth 
centurv'  series  as  the  great  bowls  491 5-6,  below.  Ls.6in. — 
1 1  in.  Ill,  h'ii,  (all)  hiii.  3,  4i,  lix,  4. 

Bronze  ^^ 'l^h  the  whole  \ases,   (which  are  arranged  in  approxiniate  order 

Cases  of  date)  and  particularl\-  with  the  bowls,  should  be  compared  the 

4'  '  tine  series  of  \ases  of  gold,  siher,  and  engra\ed  bronze  {4551  ff.) 

in  the  Cjold  Room  of  the  Museum;   and  also  the  earl\-  \ases  and 

\'ase-handle  4701-2,  4764,  abo\e. 

4913.  Neck  of  a  Large  \'ase  or  Tripod,  low  and  c_\  lindrical, 
with  ring  handles;  probabl_\- of  the  Earl\-  Iron  .Age.      D.  i6i^  in. 

4914-5.  Bowls,  with  massive  lotos-bud  handles  which  rise  abo\e 
the  rim:  4915  is  fragmentar\,  and  preserxes  onl}'  the  lotos 
handles  and  part  of  the  rim.     The  work  is  of  the  se\enth 

494 


LATHK    PHKIODS    AND    SIYLHS 

centur\-,    and    should    hv   compared    with    the   smaller   bron/e   Bronzi- 
bowl-handle  (4^')-;)  and  with  the  lotos-handled  bowls  of  i;re\    ^-^e^'--'^ 
cla\- 4()56.     Ds.  1 3'^  in.,  i(),v,in.     (^xprus,  PI.  xxx,  and  p.  442.  "*'  "' 
Perrot,  fig.   557.  lli,xli\',  i  (4915);  liii,   1-2  (4C)i()). 

4916-18.  Bowls  with  Orih^ntal  Handli-.s,  the  attachments  of 
which  on  4916  embrace  a  large  part  of  the  rim;  similar  bron/e 
bowls  from  Assyrian  palaces  ser\e  to  date  these  examples  to 
the  se\enth  centurw  Note  the  prominent  knobs  on  the  rim 
of  4917.     (^\prus,   PI.  xxx.  111.  xhii,  2,  4. 

4918  is  the  rim  of  a  similar  bowl  of  the  sixth  centurw  with  a 
swinging  handle,  of  a  t\  pe  which  occurs  in  tombs  of  this  period 
at  .\mathus.      Ds.  lo^  in.  11;'  in.  12;  in. 

4919.  Oinochoe  with  conical  neck  and  stnjnglx'  pinclied  \\p.      The   i;^,,,,^^, 
shape  recalls  that  of  the  Red  Bucchero  \  ases  474-5,  and    this  Case 
example  ma\' be  of  the  se\enth  or  sixth  centur\'  B.C^.      H.()in.  ^ 

Ill.xlvi,  2. 

4920.  \'asi-.  with  ox'oid  bod\  ,  funnel-shaped  foot  and  neck,  and 
a  handle  cut  out  of  flat  plate  and  decorated  with  ()riental 
lotos-palmettes  and  a  fh  ing  bird.  l>om  the  middle  of  one 
side  of  the  \ase  issues  a  four-sided  bar  like  a  balance  beam, 
which  ends  in  a  lion's  heai.1  and  is  hollow,  forming  a  \  er\' 
long  spout.  The  use  of  this  unic|ue  \essel  is  not  known. 
I>om  the  workmanship  of  the  handle  and  spout  it  seems  lo 
be  of  the  later  sixth  centur\.      II.   10  in.  111.  xliii. 

4921.  \'asi-.  wTiH  Si'Ofi,  of  thin  bron/e  jilate.  with  globular 
bod\,  distinct  foot,  and  narrow  neck  with  beaded  rim.  I  he 
handle  is  of  the  double  t\pe  like  48()4;  it  holds  the  rim  of  the 
neck  with  a  snake's  head  abo\e,  and  ends  below  m  a  lion- 
mask:  [irobabl\'  of  the  sixtli  cenlur\,  and  closel\  related 
in  t\pe  to  the  \ases  with  sjiouts  034-1  in  the  (^ollr.lion 
of  i^.tter\'.      II.  8';  m.  Ill,  l\iii,  i   (handle). 

4922-4.  ToKcu-l  loi.Di.Kv  of  t  lu'  same  cup-and-saucer  shapt' as 
the  cla\-  torch-holdrrs  70*^1-^  in  I  he  ( j.lKv  I  ion  of  PolU-i\. 
The  cla\-  copies  btlonn  lo  I  lie  sixth  cenlur\  in  <  a  |m  lis.  aiiil 
thest-  bron/e  exam|)lrs  sct-m  lo  be  of  .iboui  ihe  s;mu-  jicriod. 
rhe\-ma\,  howc\er.  br  earlier,  since  cla\  holders  lil,e  ihose 
of  fAprus  go  back  in  Paleslinelo  1  he  periml  of  .M  \  i  eiiaean 
mlluence.     lis.  T ;  ui.  .|  \  ,;  in.   ',  in.  I  i  1 ,  1\  ,   >,-'-^■ 

-\()2^.  WiM  l.ADi.i  .  proixihh  (,|  ihe  sixlh  or  hflh  .  eiiiuiA  :  lilt  I'm;' 
hooked  handle  is  broken.      II.  >,t  m.  Ml.  i\iii,  1   ilKiiidk'i 

4')  3 


I  HI-;    (.01. MICTION    OF     BK()N/1-;S    AND    OBJHC.TS    OF    IRON 

IkcMiiCo  4c)2()-cS.      Bowls,   shallow   with  slight  rim  (492C))  or  of  more  or  less 

^' ^^  hemispherical    outline    (4g27-<S):    probahlv    of   the   early   fifth 

centiirx.       IDs.  5 }  ,\  in.,  4  m;  in.,  4J  in.  Ill,  xlix,  1-5. 

4()2()-?2.  Bowls,  of  the  later  fifth  centur\-  with  prominent  central 
boss  (4C)2()-^(i)  or  central  depression  (4931)  or  merel\'  moulded 
rings  in   the  middle  of  the  inside   f4()32).     Ds.  4 iV,  in.,  8}  in. 

Ill,  xlix,  6  ('4()3  i). 

4()33.  Hanullllss  Boiill,  with  graceful  oNoid  body  and 
narrow  neck.  The  form  is  repeated  in  glazed  ware  158 1-2 
in  the  fourth  or  third  centurw     H.  3,',;  in.    (I\prus,  PI.  xxx. 

Ill,  li,  I. 

4Q34.  CvLiNi:)RiCAL  Box,  of  uncertain  use,  and  probably  late  date; 
perhaps  a  dice-box.      H.  2^  in. 

Mronze  ^q:^:y-(),     Strainlrs  formed  of  perforated  plates,  and  intended  to 

he  fitted  into  the  neck  of  a  large  mixing   bowl  ikraier),  at  a 
4  ... 

feast,  before  pourmg  in  the  wine.   Ds.  14:]  in.,  12  in. 

iironze  4()3j-5().  Bowls  (4937-43),  Patlrae  (4944-5),  Basins, Cauldrons 
(4946-9),  ;;nd  F^ish-cover  (4950),  of  poor  workmanship  and 
quite  uncertain  date.  Bowls  like  4940,  of  \  er\'  thin  bronze, 
embossed  with  a  single  large  palmette,  have  been  found  at 
Pompeii,  but  in  the  Hastern  Mediterranean  the  t\'pe  may  go 
back  earlier.  Ds.  yi'.i  in.,  17,-',;  in.  (^xprus,  p.  412  (cauldrons). 
Ill,  xlviii,  2,  3  (4930-1);  xh'ii,  1  (4932);  xlvi,  i  (4935),  3  (4937). 


KURMTL  RE    AND    PARTS 


KURMTL  RE    AND    PARTS 

ikonze  Ver\'  cominonh'  the  joints  and  angles  of  furniture,  for  domestic 
Case  y5^>^  were  reinforced  and  protected  b\'  bronze  fittings,  which  were 
^  often  of  some  artistic  value,  and  have  outlasted  the  more  perishable 
materials  which  the\'  adorned. 

4951-2.  Bronzh  I'eet  of  seats  or  chests,  modelled  as  lion's  feet, 
l.s.  ^\  in.,  2  1 ,";  in.  Ill,  hi,  2. 

4953-5.  Rectancular  Sockets,  two  with  Eg\ptian-looking 
moulding  round  the  edge  (111,  li,  5);  one  4955  of  another  form 
tapering  upwards;  with  a  transverse  hole  for  a  ri\et  or  bolt. 
I..  3',  in.  (495 V4).  H.  5 1  i!  in.  Ill,  Ixiv,  4. 

495()-()0.      RoiNi)    Bosses  for  the  ends  of  staves    or    chair-a 
Ds.  1 1  in.,  2  1',;  in. 


LATER    PERIODS    AND    STYLES 

4961-77.     Lamp-Stands  are  fairly  common  in  richer  tombs  from  the  l^ronzi. 
sixth    century    to    the    fourth.     They    are   of   two   successive  ,  ^^^' 
t\pes,  Oriental  and  Hellenic. 

4961-9  are  of  characteristic  Oriental  pattern,  consisting  of  an  up- 
right shaft  on  a  tripod  base,  probabl\-  of  wood  (for  it  is  almost 
always  missing)  which  supported  a  foliage-capital  composed 
of  rows  of  lotos  petals  curled  downwards:  the  pair  4963,  4967 
have  only  one  such  row.  Out  of  this  capital  rises  a  light  tripod 
support  for  a  lamp  like  4978-(S2  below.  This  t\pe  belongs  to 
the  sixth  centurv.  Hs.  4I  in. — 13  in.  Cyprus,  p.  336  (4^)61^.) 
Perrot,  fig   630  (4967).  1 1 1,  li,  3. 

4970  is  of  Hellenic  pattern,  with  a  graceful  tripod  base,  resting 
on  horse's  feet  with  an  ivy  leaf  at  their  junction.  The  shaft, 
which  is  of  bronze,  carries  a  small  volute  capital  of  the  Cypriote- 
Ionic  form.  It  is  probablv  of  the  later  sixth  century.  H.  3  ft. 
2  \n  111,  Ixvii,  I. 

4971-6,  on  theother  hand,  have  had  a  small  bronze  plate  (pre- 
served in  4972,  4974-5)  to  receive  the  lamp,  and  also  some- 
times one  or  more  hooks  (4972,  4974)  to  suspend  the  small 
bronze  implements  for  trimming  the  wick.  This  t\pe  seems 
to  begin  in  the  fifth  centur\',  but  these  examples  are  of  less 
careful  workmanship,  and  probabh'  later  date.  Hs.  2  ft.  2 

in. —  3  ft.  4}  in.     Cvprus,  p.  3^6. 

4977  is  the  foot  of  a  lampstand,  of  the  same  form  as  4971-6, 
not  of  bronze  but  of  iron.  Its  date  is  gi\en  approximatelv  by 
the  plain-cla\-  jug,  of  the  fifth  or  fourth  centur\',  which  is 
rusted  onto  it.      H.  9 J  in. 

497S-82.  Lamps  of  saucer  shape,  usualK'  with  two  nozzles  (4()7H 
81)  formed  by  pinching  the  rim  together,  as  in  the  common 
cla\'  lamps  2501-18.  The  cla\'  prototypes  with  distinct  (hit 
rim  belong  t(j  the  fourth  and  third  centuries.  The  lamp  4082 
has  onl\'  one  nozzle,  which  is  trough-shaped,  and  interrupts 
the  rim.  like  that  of  2518.     Ws.  3  r'n  in.  —  (),',;  in. 

4985-4.      Lami'-IIook  and  (JiAiNS,  Craeco-Roman.  lor  suspending   liton/t 
a  lamp  or  other  vessel.      Ls.  11',  in.,  5',  in.  Ill,  lxi\-,  (>. 

4()85-5()i  1 .  Ki-.vs,  Hasps,  11in(.i,s,  and  oini  k  f  1  i  1  in(.s  or  Boxi  s. 
In  Craeco-Koman  tombs  the  ri'mains  of  wooilen  boxes  and 
chests  are  lairh'  common.  1  he  wood,  howt'\er,  In  aliiKisI 
alwa\s    deca\ed,    t'xcept    v,  heri'    it    has    been    saliiraU'd    wilh 

4')7 


im    (.oi.LiicnoN  Of-   bronzes  and  objects  of  iron 

\Tor\7.c  copper-salts  around  the  bronze   fittings.      It    is,  therefore,  im- 

"  ^"^  possible  to  judge   of    the  si/e   and    use  of  the   boxes   except 

from  the  appearance  of  these  fittings.  'T  hus  the  large  chests, 
held  together  b\-  the  hea\\-  bronze  nails  49S5-97,  holdfasts 
4g()t),  and  plates  like  4()t)(S,  had  no  hinges  or  locks,  and  were 
probabl\'  coffins.  i'he  plate  4<)C)S,  ho\ve\er,  has  no  nail-holes, 
and  ma\-  perhaps  be  one  of  the  rare  sc^uare  mirrors.  Smaller 
boxes,  with  locks  and  ke\'s,  probabl}'  represent  jewel-cases  or 
toilet  boxes,  and  are  of  \arious  shapes,  oblong  or  cylindrical, 
with  hinged  covers.  The  ke\s  of  the  locks  ha\e  their  wards  at 
right  angles  to  the  handle  (instead  of  in  the  same  plane,  as  in 
modern  ke\'s) :  5000-2  were  used  not  to  turn  the  bolt,  but  to 
draw  it,  after  disengaging  it  from  lock-pins  w  hich  fall  back  into 
its  wards  when  the  ke\'  is  withdrawn.  The  ke\'  5000  and  the 
bolt  3003  come  from  the  same  lock,  which  has  been  recon- 
structed to  show  how  it  works:  this  ancient  make  of  lock  was 
to  be  seen  recentlx'  in  peasants'  houses  in  Cx'prus,  and  is  in  dail\' 
use  in  Eg\pt.  The  ke\'  5004  turned  in  the  lock  like  a  modern 
ke\'  and  3005  was  of  \et  another  pattern.  The  hasps  50o6-(S 
and  the  hinges  5009-1  1  are  of  simple  and  modern-looking 
pattern.     Ls.  9  in.  —  I  in.     C_\'prus,  PI.  iv  (5004). 

1 1 1,  Ixviii,  6  (nail). 


STATUETTES    AND    OTHER    MODELLED    BRONZES 
OF    THE    HELLENIC    PERIOD 

These  are  but  rarel\'  found  in  C\prus,  and  were  probably  not  of 
native  workmanship,  but  imported  from  the  great  bronze-working 
centres  of  Ionia  and  Central  Greece.  The  statuettes  of  Egyptian 
stx'Ie  are  all  of  Ptolemaic  or  Graeco-Roman  date,  and  (like  other 
Eg\'ptian  objects  in  this  Collection)  ma\'  ha\'e  been  acquired  in 
(^\prus  without   ha\ing  been   found   there. 

Centre  5012.      Handle  or  an  OiNOCHoi=,  formed  b\-  a  female  figure  bending 
Cases  backward  to  hold  the  neck-support  of  the  handle  with  both 

hands  and  resting  its  feet  on  the  archaic  head  of  a  .Medusa 
which  adhered  to  the  side  of  the  \-essel.  The  ends  of  the 
neck-support  run  out  into  heads  of  animals.  Prohabl}'  about 
550-500  B.  C.         H.  4I  in.        C\prus,  PI.  W.         Ill,  lx\i,  3. 

5013.  .MiF^ROR-Si  AND,  formed  hv  a  figure  of  a  woman,  standing 
and  pla\ing  c\mbals;  around  the  neck  is  a  collar  with  a  large, 
round  pendant,  and  o\er  the  right  shoulder  a  band  on  which 

498 


HELLENIC    PERIOD 

are  strung  a  crescent,  double  axe,  and  other  amulets.  The  figure  (^-'-'nier 
stands  on  the  back  of  a  large  frog  which  siis  on  a  folding  ^'^^^"^^ 
chair,  the  legs  of  which  end  in  feet  of  an  animal,  and  form  the 
base  of  the  whole  stand.  On  each  shoulder  of  the  woman  rest 
the  hind  feet  of  a  lion,  now  broken:  these  lions  faced  each 
other  and,  no  doubt,  supported  the  mirror  with  their  forefeet. 
On  the  head  of  the  human  figure  is  a  palmctte  with  xolutes, 
perforated  and  grooved  to  support  the  mirror.  Fine  archaic 
Greek  work,  about  550-500  B.  C.  Total  height  8§  in.;  height 
of  figure  7v\  in.     Perrot,  fig.  629.  Ill,  lx\i,  4. 

5014.  .Athlete,  nude,  of  the  finest  Greek  work  of  the  late  fifth 
century  B.C.,  certainlv  imported  from  one  of  the  great  centres 
of  Greek  skill.  The  right  foot  is  missing  and  right  leg  slightly 
bent  as  if  about  to  advance.  Note  the  very  fine  details  of 
hair  and  hands.     H.  6|  in.     Cx'prus,  p.  345.  Ill,  lx\i,  5. 

5015-16.  Lion-headed  Water-Spouts.  They  probably  formed 
part  of  the  external  decoration  of  a  shrine  or  large  chest  of 
architectural  design.  Fine  but  late  Hellenistic  work.  W's.  5^ 
in.  each.  Ill,  Ixii,  i. 

5017-18  are  rather  smaller  than  5015-6  but  in  a  similar  style.  W's. 
3f  in.  each. 

5019-24.     Egyptian  Statuettes,  for  the  most  part  of  Ptolemaic  ikon/.e 
or  Graeco-Roman  date.      5019  shows  the  infant  Horus  seated,  ^"'^'-' 


with  Osirian  crown  and  side-lock  of  hair.  Ill,  Ixv.  3. 


7020, 


4 


Isis  and  Horus.  lll,lx\',2.         5021-2.  Osiris,  \er\' coarse  work, 
perhaps  foreign,  and  not  certain  1\' ancient.  Ill,  Ixv,  i. 

5023,  a  roval  head.     (^\  ]"»rus,  PI.  Iv.     S024,  a  ram. 

5025-6.  Barbaric  Statu1:TTe,s  of  \uui-.  .Mi-x,  perhaps  imitations 
of  Oriental  fprobabh'  l-~g\ptian)  work,  of  small  si/e  and  of  a 
st\le  which  apparentl\"  hcis  its  home  on  the  S\rian  coasl. 
In  spite  of  their  rough  workmanship,  the\-  are  not  necessarih' 
of  carh'  date.  Note  the  horned  cap  of  502(),  and  the  long 
locks  of  hair  on  his  shoulders. 

5027-30.    1  lia.iiNic  AM)  Ghai  co-Roman  St  at  i  i-i  1 1  '^,  of  i^oor  st\K' 
and  workmanship;  some  ni;i\'  be  of  (Apriole  make 
5027.      Nude  male  figure,  much  corrotii'd  :  jHT'lKips  of  1  In-  foiirt  li 
centurv.  1 1.  4  in.  111.  1\\  i.  1 . 

502(S.      AlhiTia,    in    file    lu';i\\-lirimmetl     helmet,    with,    right 
hand  raised.      GraeLO-Rom,iii.      11.  4,',,  in. 

409 


Case 
4 


THi;    C.Ol.LHCl  ION    Ol-     BRON/HS    AND    OBJl-CTS    OF    IRON 

Hntn/c  S02C).      Hros.   standing  wilh  Icl'l  foot  adxanced,  holding  a  how 

in  his  left  hand  and  drawing  an  arrow  from  his  quiver  with 
his  right,  ("iraoeo-l^oman.    H.  3  1 ;!  in.  (]\prus,  PI.  \\.   ill,  l.wi,  2. 

30^0.  Orator,  in  an  owT-garment  decorated  with  punc- 
tured dots:  his  missing  left  hand  was  in  a  separate  piece 
t'iraeco-Roman.     11.  ^s  in. 


HF  COIJ.I-.CnON  OF 
GLASS 


THE  COLLECTION  OE  GLASS 

GLASS,  like  the  art  of  glazing,  seems  to  be  an  Kg\ptian 
invention.  Though  ancient  tradition  asserted  a  Phoeni- 
cian origin,  and  though  Phoenician  glass  was  famous  in 
Hellenistic  times,  there  is  at  present  no  exidence  of  an\' 
Phoenician  glass-working  which  can  compare  in  antiquitx'  with 
that  of  Eg\pt,  where  the  art  of  glazing  objects  of  stone  and 
artificial  paste  goes  back  to  pre-d\nastic  times,  it  is  not,  how- 
e\er,  until  the  XVlll  L)\nast\'  that  we  ha\e  actual  glass  objects, 
and  the  equipment  of  a  glass-worker,  from  the  Palace  of  I'ell-el- 
.Amarna.  This  Eg\-ptian  glass  was  for  the  most  part  cast  in  open 
moulds,  and  used  for  surface  decoration  and  inla\ing;  but  there 
were  also  small  thick  \-essels  of  striped  and  \ariegated  glass  made 
b\'  welding  manv  coloured  rods  together.  It  is  not  certain  whether 
these  vessels  were  made  b_\'  blowing,  or  by  modelling  and  rolling  the 
glass  about  a  core.  The  sand  grains  which  often  adhere  to  the 
inner  surface  ha\'e  been  supposed  to  proxe  a  casting  process,  but 
at  all  periods  glass  \essels  are  commonh'  annealed  in  sand,  at  a 
temperature  which  ma\'  cause  it  to  adhere. 

IABKK;     I.        AU)l[,l)l-.l)    AM)    XAKll-OA  1  I   1)   (.I.A^S 


In  (^\prus,  glass  of  this  X\'lil  i)\iKisl\  fabric  Ikis  been  I'uunil  in  (.lass 
rich  tombs  of  \hc  i.;ile  Pjronze  Age  ;it  l-',nk(inn,  but  is  onlv  rcpri-  '••i'^'-' 
sented  hv  one  example  in  this  collection. 

5051.  liion-Ni.c.Ki  1)  \'a^i.  of  an  .Will  l)\iKist\  lorni.  iinilaiid 
from  \;iM'S  of  alabaster:  the  gkiss  i>  much  dtv^xed,  ImiI  seems 
to  h;i\-e  h;ui  a  tiark  IMue  ground,  with  wlu'te  lines  dr.iwn 
frequentl\-  upwards.      11.   ',',,',  in.  IN,  Ix.wn,   >,. 

(jlass  of  a  nati\i'  f;ibric,  ne;irl\    transparent,  has  been  lound.  \er\' 

3"'j 


1HE    COLLlX.noN    OF    GLASS 

rari'h',  in  other  I5ron/e  Age  lombs:  its  relation  to  the  Eg\-ptian 
fabric  is  obscure,  and  it  nia\'  well  be  a  b\-procluct  of  copper- 
smelling,  in  which  the  production  of  fused  slag  is  ine\-itable.  On 
the  other  hand,  the  cast  ornanienls  of  dark  blue  glass  and  glass- 
paste,  which  are  characteristic  of  the  later  tombs  at  Mycenae  and 
other  Late  Minoan  centres  in  the  Aegean,  do  not  seem  to  have 
been  introduced  into  C^xprus. 

During  the  Karl\'  Iron  Age,  beads  of  variegated  glass  found  their 
wa\'  into  Cyprus,  as  into  most  other  Mediterranean  lands.  The 
general  uniformitx'  of  their  fabric  suggests  that  these  are  trade- 
beads  distributed  from  a  few^  commercial  centres,  and  the  popular 
belief  that  the\'  are  Phoenician,  ma\'  be  substantiall}'  true. 
They  form  the  onl\'  link  at  present  between  the  \ariegated 
glass  of  the  X\'11I  D\nast\'  and  that  of  historic  times.  A 
few  doubtful  examples  are  included  among  the  miscellaneous 
beads  below. 

Then,  in  the  richest  tombs  of  the  sixth  and  fifth  centur\',  in  C\prus 
as  in  Greek  lands  and  widely  also  in  Ital\',  small  but  very  beautiful 
\'essels  occur  rarel\-  in  a  fabric  of  \ariegated  glass  far  superior,  both 
in  colour  and  modelling,  to  all  but  the  finest  of  the  old  Eg>'ptian 
work.  Three  shapes  are  characteristic,  a  c\lindrical  alabastron, 
closelv  copied  from  the  Eg\ptian  alabaster  vessels,  and  an  oinochoe 
and  a  narrow-necked  amphora,  which  are  of  purcl\'  Hellenic  shape. 
The  principal  colour-schemes  arc  two:  a  milk_\-  white  ground  with 
bands  of  maroon  brown,  shading  into  \'iolet  and  carmine,  and 
often  diffused  into  the  white;  and  a  deep  translucent  blue,  banded 
with  opaque  white,  \'ellow,  and  a  turquoise  blue  which  easily  shades 
into  apple-green  and  oli\e.  These  bands  were  made  b\'  vvinding 
glass  threads  spirall\'  upon  the  vase  at  a  viscous  heat;  then  the 
whole  vessel  was  fused  again,  and  rolled  upon  a  hard  surface  till 
the  threads  were  thoroughl\'  imbedded.  The  favourite  patterns, 
wa\\'  and  zigzag,  were  produced  by  dragging  a  sharp  instrument 
down  the  \ase  or  up  it,  or  up  and  down  alternatel}',  after  the  threads 
\Aere  put  on  and  before  thc\-  were  imbedded.  The  lip,  foot,  and 
handles  were  often  added  in  one  of  the  auxiliar\'  colours,  'fhe 
range  of  colour  and  of  form  is  so  limited  that  it  has  been  thought 
that  these  \-ases  ma\"  be  the  product  of  a  single  centre  of  manu- 
facture. Phoenicia,  Rhodes,  and  Naukratis  in  the  Hg>ptian 
Delta,  ha\'e  been  suggested.  1  he  purit}'  of  the  Greek  shapes 
favours  a  western  source.  fhere  is  no  e\idence  that  ihey  were 
ever  made  in  (^_\-prus,  where  the\-  are  not  at  all  common. 

504 


IHH    COLLI-CTION    OF    GLASS 

i  with  small  base,  and  handles  o 
of  greenish   blue  with   orange-xellow  rim,  handles,   toot,   and 
three  plain  lines  round  the  bod\ .  H.  2.}  in. 

505^.  Amphora  without  handles,  with  high  neck  and  standing- 
fool:  deep  blue  glass  with  white  and  \ellow  bands  on  neck  and 
bod\-,  and  \ellow  zigzags  on  the  shoulder.  H.  3!  in. 

After  the  fifth  century  this  \ariegated  glass  disappears  altogether  for 
a  while;  but  in  the  Graeco-Roman  Age,  or  perhaps  rather  earlier, 
it  is  revi\ed,  with  inferior  workmanship,  and  in  a  new  series  of 
late  forms;  pointed  amphorae  with  long  neck  and  handles,  copied 
from  contemporary  wine-jars;  and  alabastra,  also  pointed  and  pear- 
shaped,  for  the  most  part,  instead  of  c\lindrical.  The  colours  too 
are  changed:  the  white  ground  disappears  altogether,  the  dark  blue 
becomes  mudd\-  and  gixes  place  to  sad  brown,  the  white  and  }ellow 
bands  remain,  but  the  blues  and  greens  are  replaced  b\'  brick-red. 
The  most  pleasing  examples  are  in  a  strong  clear  blue  with  fine  bands 
of  white  onlw 

5054-7.  .•\mi'hor.-\i  imitated  from  late  wine-jars,  with  pointed 
bod\',  and  long  neck  and  handles:  dark  blue  or  brown,  with 
lines  of  white  (5054-5)  or  white,  \ellow,  and  greenish  blue 
(505(1-7),  plain  on  the  neck,  drawn  frequently  upwards  on  the 
bod\'.     Hs.  5I  in.  —  6f  in.     C\prus,  PI.  iii. 

Ill,  Ixxvi,  3.  4,  5  (5054-50). 

5058-9.  .Alabastra  of  the  late  pear-shaped  form  with  unper- 
forated  handles;  dark  blue  with  lines  of  white  (5058),  or  }ellow 
(505Q)  drawn  alternately  upwards  and  downwards.  Hs.  5 
in..  5.1  in.  C\prus,  PI.  iii. 

5060.  DiiMMNG  Rod  for  toilet  use;  with  a  ring  handle,  knob-end, 
and  a  spindle-whorl  on  the  stem  to  ser\e  as  a  stopper  to  the 
bottle  in  which  it  was  used:  dark  blue  with  white  spiral  line. 
H.61i!in.  Ill,  Ixxvi,  2. 

5061-2.  Spindlh-Whorls;  dark  blue  with  white  lines,  spiral 
(5062)  or  drawn  downwards  (5061).  Similar  spindle-whorls  in 
plain  glass,  of  the  same  shape  and  date,  are  described  below 
(5790-6).  Ill,  lxx\i,  9,  6. 

FABRIC    II.       MILLEFIORI    GLASS 

Side  b\-  side  with  this  revixed  fabric  of  \ariegated  glass  stands 
the  rich  series  of  Oraeco-f^oman  bowls  and  cups,  cut  from  slabs 

506 


MILLEFIORI    GLASS 

of  mosaic  glass  or  moulded,  and  e\en  blown  in  such  glass  and  often  (^'lass 
finished  b\-  wheel  cutting,  so  astodispla\-  fantastic  distortion  of  its  *^''^^' 
structure.      I  his  "milletiori"  fabric  also  is  of  Egyptian  ancestrx', 
and  probabl}-  had  alwaxs  one  of  its  chief  centres  in  Eg\pt  itself. 
S>Tian  glass,   however,  was  famous  too,  but  our  exidence  is  not 
precise  as  to  its  qualities. 

5063-4.        RhCT.-WGLL.AR    PLAyLHS   of    "  .MiLLhI-IOKl"   ("jIASS.      lioth 

have  a  dark  green  ground,  filled  in   5063  with  small   \ellow 

flowers,  in  3064  with  streaks  of  opaque  \ellow-green.  probalih 

intended  to  resemble  the  green  porph\r\-  of  Laconia,  which 

was  \alued   for  architectural    decoration. 

Glass   now   comes   into  common   use  as  a  substitute   for  coloured 

stones,  both  in  mosaic   decoration,  and  for  je\\elr\  ;  examples  are 

numerous  in  the  ("ollection  of  Gold  Ornaments. 

tABKlC     III.        CAST    AND    (.ROUND    CLASS 

With  the  late  fabric  of  \ariegated  glass,  and  perhaps  also  earlier, 
moulded  N'essels  of  clear  or  h\aline  glass  come  in  xogue,  usualh' 
not  quite  colourless  but  of  pale  shades  of  sea-green  or  honey- 
colour.  The\'  are  often  groimd  to  a  dull  surface,  in  imitation  of 
translucent  stone.  This  solid  transparent  glass  probabh  rejire- 
sents  an  ancient  Sx'rian  fabric;  it  is  found,  both  greenish  and  deepl\- 
coloured,  in  Sargon's  Palace  at  Xine\eh,  and  below  its  floor,  anti 
goes  back,  therefcjre,  far  into  the  eighth  centurx  B.  G.  lUil  most 
of  the  known  e.xamples  are  Hellenistic  at  earliest,  and  in  (  a  jirus 
it  does  not  as  a  rule  occur  appreciablx'  earlier  than  the  "milletiori" 
glass:  but  the  line  piece  ^(i(iy,  if  found  in  (Ajirus,  is  a  striking 
exception. 

5065.  .\i,ABA^'i  RON  of  translucent  alabasler-Loloured  glass,  lairh' 
thick,  and  ground  to  a  dull  surface.  In  form  it  is  rather  less 
graceful  than  the  best  alabaster  \ases,  but  it  is  of  good  earl\' 
st\le,  not  unlike  the  cr\  slal  \"ase  i,^()^.  and  probabh  ii-prest'nts 
some  S\Tian  fabric  of  the  period  of  (  )riental  inlluences;  ( mi  pa  re 
the  glass  vase  of  Sargon,  king  of  .\ss\  ri;i  (72  1  -704  P).  (  !. ).  in  I  he 
British  .Museum:  Kisa.  Das  GUis  iiii  .■llloliiiiir.  p.  loj,  fi^.  22. 
W.  61^  in. 
So()()-7i.  l)OW  i.s  01  (  ;a^  1  '",!,, \s^,  Ilea rl\  t  ransparcnl ,  oil  en  l: round 
to  a  dull  surfaci',  and  \ariousl\  grooved  and  gadrooiud,  I  his 
trt-atmenl  of  the  surface  i^  iinilaled  soni<'linies  b\  h.ind 
modelling  in  15  low  n  (ilass  of  t,ie  labri.  u  liu  h  |i  i||,  iw  s  .  :,y  17^0,,:, 
These  are  found  in  hile  1  lelJcnixtK  and  (  .rar>  n-l\oin,iii  l.^inbs. 


THE    COLLECllON    OF    GLASS 


1  AHKIC    1\'.       Cl.lAK    BLOWN    CLASS 

Quite  distinct  from  all  those  I'ahriLS  is  the  tliin  transparent  blown 
glass,  which  almost  replaces  potter\-  in  the  tomb-equipment  of 
the  second  and  third  centuries  A.  D.  There  is  no  clear  e\  idence 
that  this  fabric  goes  back  into  Hellenistic  times.  It  was  made 
at  man\'  centres,  with  but  little  \arialion  of  Jorm  or  tinish:  such 
a  factor\-  has  been  found  in  C'.\prus  itself,  at  lamassos.  Most  of 
its  forms  are  prescribed  b\-  the  process  of  blowing;  inflated  bodies, 
easih'  flattened  or  indented,  long-drawn-out  necks,  abrupt  bottle- 
rims,  and  tlat  strap-handles,  are  characteristic;  and  the  \ariet\- 
in  detail  is  infinite.  Some  of  the  best  drinking-cups  are  graceful 
and  exceedinglx'  thin:  to  gi\e  a  better  grip,  and  pre\ent  rolling, 
the\-  often  ha\e  their  sides  indented;  and  this  de\ice  is  transferred 
to  the  contemporarx'  potterw  I'or  con\enience  of  transport,  manv 
jugs  and  bottles  were  blown  within  a  four-sideil  frame,  like  modern 
medicine-bottles;  others  in  moulds  representing  human  heads,  or 
other  designs:  a  cluster  of  grapes  and  a  wrinkled  date-fruit  are 
fax'ourite  forms  for  small  scent-bottles.  Open  pots  for  ointment 
or  toilet  powders  were  sometimes  fitted  with  co\ers  cut  from  the 
conca\e  bottom  of  a  common  blown  flask,  and  these  co\  ers  are 
found  painted  on  the  inside  with  lime-colours,  so  that  the  design 
shows  through  the  glass.  The  beautiful  iridescence  of  man\-  of 
these  glasses  is  accidental,  and  is  lIuc  to  the  deca\  of  the  glass  in 
moist  air  or  soil.  It  has  been  imitated  (though  hardly  surpassec') 
b\-  modern  glass-workers. 

On  the  other  hand,  man\-  of  the  forms  of  the  transparent  blown 
glass  were  repeated  in  \arious  colours.  I  he  commonest  are  deep 
blue,  fsio^,  518c),  5234-7,  etc.);  deep  green  (5401-2);  amber  {=,2^--,, 
S573,  5511,  etc.);  and  ameth\st  (S372,  54(>q);  the  latter  easil\- 
shading  to  brown  (5122);  and  rarel\-  to  rose-pink.  Occasionalh' 
the  brown  becomes  almost  black  (5220).  A  faxourite  decoration 
is  a  thread  of  opaque  white,  wound  spiralh'  from  neck  to  foot  on 
a  flask  of  blue  or  amethxst;  or  a  similar  thread  of  clear  blue  or 
brown,  on  white  or  amber.  Ill,  Ixwii,  l,x.\ix-c\ii. 

A.    IM.AIN     BLOWN    GLASS 

Glass  These  vessels  are  arranged  in  order  of  form  in  three  series,  bottles. 

Cases  cups  and  plates,  each  of  which   runs  through  the  whole  ranije  of 
1-8 

show  cases  i-h. 

508 


PLAIN     BLOWN    GLASS 

3101-5405.      BoTTi.HS  wiTHOLi    Hanim.[:S.       In   the  simplest  form  ^-^l-'ss 
3101-4Q,   the  hod\-  is   onl\- slishil\- expanded   to  a  club-shape,  *"'^*^' 
often  with  a  slight  groo\e  to  mark  the  junction  between  bod\' 
and  neck.     The  lip  is  narrow.     This  form  is  common  among 
the  miniatures,  5115-43.  Ill,  xcix,  Ixxvii.  7-0  (miniature). 

5150-2.  When  the  bod\-  is  spindle-shaped,  the  intention  was 
to  C()p\-  the  so-called  tear-bottles  of  cla\-,  which  accompan\- 
the  glass  bottles  in  late  tombs.  Ill,  c\-,  ().  2-7. 

515^-5211.  The  club-shaped  form  passes  gradual!)-  into  a  *■;'■' ^s 
conical  or  globular  bod\-,  which  is  also  common  in  miniature  2"'^^' 
(5158-76).  1 1 1,  Ixxx'ii,  0,  10,  11-15  (iiiinialure). 

5212-76.  From  the  globular  form,  in  turn,  arise  ec|uall\  Class 
graduall\',  a  large  series  of  pear-shaped,  hemispherical  \arieties,  '■^'^^'■' 
and  two-storied  forms,  produced  b\'  constricting  the  bodw 

III,  xc\'ii,  c,  ci;  cv,  i  (two-storied). 

5277-531  I.  The  necks  of  some  of  these  bottles  are  excessively  Gkiss 
long  and  slender,  and  rather  markedh'  separated  from  the  '■'''^^' 
body.  '  III,  ciii.  "^ 

5312-43.  Commonest  of  all,  on  man\'  sites,  are  those  with  Class 
the  bod\'  flattened  like  a  stethoscope:  these  ha\e  \er\'  small  ^'^^'-' 
capacit}',  and  are  almost  purel\'  ornamental.  III.  cii. 

5344-5405.  Other  forms  imitate  common  forms  of  cla\'  c,]:\ss 
vases,  with  funnel-shaped  neck,  sloping  shoulder,  and  occa-  f-'se 
sionall}'    a    standing-base    (535()).  Ill.xc\iii. 

536t-().  a  few  a  re  compressed  laterall\like  a  flask.  1 1  l,c\i,  i  ,3. 
53<Si-()2.  One  miniature  \'ariet\'  has  a  short  wide  neck,  anil 
almost  no  bod\' :  it  is  usualh'  \er\'  roughh'  made.      Ill,  c\  i,  S-10. 

5406-53.      Jt  (,s    wrin    ONI-     Handi.i-    follow    those    with    none,  in  Class 

regard   to  the  shajies  of  the  boii\-  and   neck;  but   show    more  '■•'~">'~' 
.  ■  .  ■         7.  '"^ 

likeness  to  contemporar\'  potter\',  and  otten   ha\e  a  base-ring. 

The  handle  is  usualh'  of  Hat  cross-section,  like  a  strap,  swollen 
a  little  where  it  joins  the  shoulder,  ami  often  foldeil  or  scrolled 
to  form  a  thumb-hokl  at  tlu-  upjier  end.  and  sonutinies  at 
both  ends,  or  forming  rippled  bands  down  the  boih.  ll 
usualh'  joins  the  neck  either  at  the  rim.  as  ui  540(1-7.  or  not 
far  below  it ,  54o8-().  Occasionalh'  as  in  v;  1  7  I  here  is  ;i  nn  Glid- 
ing on  the  shoulder  or  the  neck;  but  as  a  rule  the  surLue  is 
(juite  i-»lain.  Ml,  xi.  \i  \ . 

509 


ceases 

2-8 


IHl:    CX)l.l.i;(;i  ION     ()1-     GLASS 

Ciiass  :;^:i_j-()5.     Ami'Horai  WITH    I'wo  Hanpli-s  follow  slill  more  closclv 
"  '!;.  the  contenif")orar>'  clav  \ases:  the\'  are  rare,  and  usually  of  small 

si/e.  rhe  handles  are  often  elaboratelx'  scrolled  above  and 
ribbed  below.  Ill,  Ixxxix. 

Glass  S4(>4-SS72.     Caps   and   Bowls   witholt   Handles   form  a   large 
Gases  series.     Simple  forms  are  common  with  c\lindrical  sides  and 

nearlx'  flat  bottom  (5464-77)  sometimes  drawn  inwards  a  little 
and  furnished  with  a  slight  rim  (5478-8(S).  Ill,  Ixxxi,  s- 

Glass  5^S()-550(S   have   rounder   bottoms,    and    more   inward-sloping 

"  """^  sides,  approximating  to  common  \ase-forms:  111,  Ixxxii. 

,-,   ,_  5tO()-72,  more  spherical  profiles,  with  wider  and  more  distinct 

Cases  rim.  lead  on  to  \'-shaped  tumblers,  with  base-ring  (5534)  and 

7"'''  a  number  of  more  elaborate  shapes,  all   following  the  forms 

of  \ases:  5528  has  a  high  foot,  like  that  of  the  common  bowls 
of  terra-sigillata;  and  S536,  55O8  ha\e  a  slender  solid  stem  like 
a  modern  wine  glass.  Ill,  Ixxxi;  Ixxxiii  (base-ring); 

lxxxi\-,  3  (high  foot);  lxx\ii,  1  (stem). 
Glass  5  5y3-^6()().  Plaths  and  Salchrs  are  of  many  varieties,  all  rather 
thicker  than  the  bottles,  and  usuall\'  furnishetl  with  stouter 
rim,  base-ring,  and  a  few  concentric  lines,  borrowed  from  the 
plates  of  terra-sigillata.  .A  few  (560 1-2)  ha\e  handles  on  the 
rim,  made  of  a  narrow  ribbon  of  glass,  closel\-  applied,  and 
usually  wa\ed  or  corrugated.  Ill,  lxxx\-lxxx\iii. 

3610-14.  Lids  are  sometimes  found  on  the  upright-sided  cups, 
plain  or  hea\'\'  moulded.  The\'  are  often  simply  the  bottoms 
of  the  flat-bodied  bottles,  cut  neatl\'  off,  so  as  to  retain  an 
upturned  edge,  which  fits  o\er  the  rim  of  their  cup.  Some- 
times the  inside  of  these  lids  is  painted  with  flowers,  fruit, 
birds,  and  dancing  N\mphs  and  Cupids,  in  lime-colours 
which  show  through  the  glass,  with  black  outline  and  simple 
flat  tints,  protected  behind  b\'  a  wash  of  plain  lime.  None 
of  the  examples  in  this  Collection,  howexer,  are  painted. 

Ill,  cvii,  (). 

Glass  5615-2^.     Lamps,   (s6is)  and  La.mp-Fillhrs,  (S616-5623)  are  onl\ 

^^ '[  made  rarel\-  in  glass;  the  fillers  ha\e  the  form  of  an  ordinarx' 

bottle,  one  side  of  which  has  been  drawn  out  to  a  point  and 

broken  off.      Sometimes  the  neck  of  the  bottle  has  been  drawn 

out  also  (5622-25)  to  complete  the  resemblance  to  a  bird,  while 

making   the  \essel   useless  except   as  a   tow      The  lamp   5()22 

is  of  a  late  (iraeco-Roman  form.  Ill,  c\i,  2  (lamp-filler). 

510 


35i« 

521)4 

5240 

54^1 

S  /2() 

5''7') 

5O84 

5724 

5().S6 

341  (J 

3757 

54  il 

5  5sr. 


THE    COLLECTION    OF    GLASS 


B.       BLOWN    GLASS    WITH    VARIOLS    ADDITIONAL    ORNAMENTS 

The  workmanship  of  all  those  vessels  resembles  that  of  the  pre- 
ceding group,  and  the  limits  of  form  and  date  seem  to  be  approxi- 
matel\'  the  same. 

Glass  ^(i24-6q.     Blown  Glass  with  Incised  Lines,  cut  or  rubbed  with 

Case  sand  and  a  piece  of  wood:  this  ornament   is  commonest  on 

bowls  and  cups  (3630-69),  rarer  on  bottles  (5624-7)  and  jugs 

(5628-9).  Ill,  Ixxxi,  6;  l.xxxiv,  i. 

5670-80.  Blown  Glass  m.ade  in  a  .Mould,  like  a  modern  case- 
bottle;  the  majorit\-  are  four-sided  jugs  (5670-78),  but  some 
are  man\-sided  (5679),  or  round  (5680).  Ill,  xcvi,  cv,  s. 

Class  .(^,g,_-_[^)      Blown  Glass  with    Concave   Panels  made  b\-  im- 
'1 ,  pressing  the  side  in  four  or  more  places.     Most  of  these  vases 

are  c\lindrical  or  conical  tumblers  and  deep  cups  (5681-5697); 
but  the  same  treatment  is  applied  also,  though  less  cffecti\el\-, 
to  bottles  (5698-5710),  miniature  examples  are  fairl\- common, 
perhaps  intended  to  imitate  the  mould-blown  fabric. 
C\prus,  PI.  iii.  Ill,  Ixxix,  Ixxx. 

5711-45.  Blown  Glass  with  Applied  Threads  of  Glass  drawn 
either  spirall)'  or  in  more  complicated  patterns  over  the  surface, 
and  fused  so  as  to  adhere.  The  simplest  examples  are  bowls 
with  a  mere  collar  or  moulding  below  the  rim  (5711-17, 
5721-35),  and  the  same  ornament  is  found  occasionall\-  on 
bottles  (5718-19,  5736).  Other  examples  show  the  spiral 
threads  wound  round  the  whole  bod\-  of  the  vase  (5737-44). 
The  spiral  threads  are  often  of  a  different  colour  from  the 
ground  (5738.  5740).  Rarel\-,  threads  of  glass  of  larger  dia- 
meter than  these  are  used  to  form  festoons  or  network  which 
stands  partl\'  free  of  the  \essel  (5745).  Ill,  civ,  6,  7,  8. 

cilass  5746.  Blown  Glass  with  Applied  Patches  or  Rosettes  of 
coloured  glass,  differing  onl>'  from  5711-45  in  the  shape  and 
arrangement  of  the  additions. 

5747-60.  Blown  Glass  with  Gadrooning  or  Ribbing,  formed 
b\-  modelling,  in  imitation  of  the  \ases  of  thick  cast  glass 
(5066-73):  small  bottles  are  common  (5747-51)  and  cups  and 
bowls  are  also  found  in  this  st\-le  (5752-60).  111.  ci\-,  1-5. 

5761-2.  Blown  Glass  with  V'ariegathd  C^olour.  Ihe  forms  of 
this  rare  fabric  are  those  of  the  plain  blown  glass;  both  these 

512 


BLOWN    GLASS    WrFH    ORNAMHNTS 

examples  are  small   pear-shaped    bottles,  with   slight    funnel-  Glass 
shaped  rim:    5762  is  of  mixed  "on\x-glass,"  blue  and  white;  '■'''^^" 
5761,  of  brown  with  white  lines,  probabl\-  produced  hv  apph- 
ing  a  white  thread  of  glass   (ai  in   5711-45)   before  the  final 
blowing;  it  is  difficult,  however,  t(j  distinguish  glasses  of  this 
technique   from    those   in    which    the    lines    were   painted    in 
enamel  colour. 
3763-67.     Blown  Gl.ass  m.ade  in  Figured  Moulds.     The  manu- 
facture is  the  same  as  that  of  5670-80,  but  the  glass  is  liner, 
and  often  coloured;  and  the  moulds,  like  those  of  terracotta 
figures,  represent  human  heads  (5763),  fruit  (5764),  and  other 
objects.      5765  is  a  hexagonal  jug  decorated  with  Jewish  em- 
blems.     .Most  of  the  \essels  are  narrow-necked,  but   5766  is  a 
fragment  of  a  plate  impressed  on  the  inside,  and  57()7  a  de- 
tached medallion  with  a  female  head.  III.  lxx\iii. 

OTHER   OBJECTS   OE    PLAIN    (U.ASS,   CLEAR   OR   COLOURHD 

.Many  small  toilet  objects  were  made  of  glass  for  ordinary  use,  as 
well  as  for  burial.  The  manufacture  of  glass  bracelets  like  576(S-75 
goes  on  still,  almost  unchanged,  at  Hebron  in  Palestine,  competing 
successfull)'  in  its  own  district  with  imported  Pairopean  fabrics. 
5768-75.  Bracelets  of  clear  and  coloured  glass,  sometimes  dec- 
orated with  multiple  or  twistetl  threads.  Ill,  lxx\i,  10-12. 
5776-77.  OiPPiNo  Rods  for  toilet  use,  of  twisted  clear  glass,  like 
the  \ariegated  dipping-rod  5060.  111.  lxx\i,  1. 
5778.     Spoon,  of  clear  glass,  with  pointed  howl  and  long  handle. 

Ill,  cvii.  2. 

5779-81.     Pins  (5779-80)  and  Needle  (5781),  the  former  perhaps 

for  use  as  a  dipping  rod.  Ill,  lxxx\i,  i  (5781). 

5782-88.     Spindle:-Whorls  of  plain  glass,   greenish  or  dark  blue, 

are  common  in  Ciraeco-Roman  tombs;  in  workmanship  llu'\' 

are  identical  with  those  of  \ariegated  glass,  5061-2. 

Ill,  Ixxvi,  7  (S786). 
5789-04.  Small  Obji-.cts  oe  Clear  ("iLas'-:  a  gaming  die,  S78(); 
manvsideil  bead,  5790;  ball,  5791;  kmibs,  S792--1;  tube,  5794, 
of  uncertain  use;  of  the  ordiiiar\  tran>pari.'nt  glass. 
Compare  with  these  the  linger-rings  42()4-t,  i'iigra\ed  gmis  in 
glass  jiaste  42()6-7,  and  prndants  antl  brails  .}(i2  ^-4()  lr(  ini  ( .r.icco- 
Roman  t'arriiigs,  which  arc  exliibilrd  in  ihr  (IdlKilion  i>\ 
(jold  Ornaments,  anti  the  miscellani-'ous  beatls  whidi  tollnu  hnr. 

5'3 


Till-    COI.LI-.CTION    Ol-    GLASS 

5795-3803.  BhADs  Ol-  \'arii;c.a  I  HO  (Ilass  of  various  periods  not 
easily  distinguished.  The  c\lindrical  and  spindle-shaped  beads 
5795-8  of  dark  glass,  with  white  and  x'ellow  lines,  sometimes 
drawn  up  and  down,  ma\-  be  of  the  sixth-century  fabric.  Those 
of  opaque  \ellow  glass  with  blue  and  white  eyes  (5799),  of 
pale  blue  glass  with  daik  blue  and  white  e\es  (5800),  and  of  dark 
blue  glass  with  yellow  eves  (5801)  or  zigzags  (5802)  may  also 
be  early,  but  are  repeated  in  Roman  times.  The  plain  green 
and  greenish  blue  beads  (5803)  of  very  rough  fabric  are  prob- 
abl}'  late. 


514 


OBJHCTS  OF 

IVORY,  BONK,  SHELL 

AND  LEAD 


T 


OBJECTS  OF  IVORY,   BONE,  SHELE 
AND  EEAD 

HESE  arc  found  at  almost  all  periods,  and  bone  objects 
were  probablv  common  in  dail\-  use.  All  in  this  section 
are  of  bone,  unless  another  material  is  stated. 


5901.      hoRY    Pi.A(jL  I:    of  o\al    form,    car\ed    in    high    relief.      It   ,,  .  ,, 
shows  a  negro  asleep,  with  his  head  resting  on  one  arm;  his  Case 
hair  is  dressed  in  Eg\ptian  fashion,  and  he  wears  a  long  loin-  77 
cloth  fastened  with  a  belt.     A  perforation   in  the  background 
passes  through  the  right  hand.     The  workmanship  is  Eg\ptian 
and  probabl}-  of  X\T  1 1  D\nasty  date.      It  is  said  to  ha\<;  been 
found  at  Lapathos.         L.  3^  in.         C\prus,  p.  233. 

5902-22.  IvoR-i-  AND  BoNH  RouNDHLS,  for  inla\ing  or  for  use  as 
buttons.  Some  have  a  rosette  pattern  of  Egxptian  st\le 
(5902-13)  or  rings  (5914);  others  are  plain  (S915-22).  SO07 
retains  a  gilded  bronze  nail  lhr(jugh  its  centre.  I'he  date  is 
quite  uncertain.  Ds.  2:1  '"•       >i  ""i-  (;\prus,  p.  in- 

Ill,  cx\i,  lo-ij. 

5923-30.  FoiLHT-BoXHS,  of  tubular  form,  for  holding  needles, 
pins,  or  face-paint.  Some  are  turnetl  on  a  lathe  (s<)2?-2())  with 
engraved  patterns  of  scales  and  zig/ags;  others  (5()27-^o),  more 
roughl\'  worked,  still  betra\-  the  natural  Inrm  of  the  boin\ 
Some  retain  the  roundel  of  bone  which  closcil  the  end.  .\bisi 
of  them  seem  to  be  of  (Iraeco-Koman  work.  I.s.  sin.-      1  m. 

Ill,  c.w  i,  (). 

5931-41.  Si'iNi)i.t--\\'n()Wi.s,  flat  below,  ami  onl\-  slighth'  coiucx 
above.  Such  whorls  haw  been  found  in  llellenislic  :uul 
( jraeco-Koman  tombs.  I)s.  1!  in.       [;  ui. 

5942.  Sic.Ni-.i-RiNr..  These  were  probabl\  tor  tonib-((|uipm<'nt 
onl\-.  \).  I  .^  in.  111.  c\\  i.  (>. 


317 


OBJlUnS    Ol-     IVORY,     BONH,    SHELL    AND    LEAD 
S04^-4.      IwootluT  RiNc.s  (too  large  for  a  tingor).      Ds.  i|in.,  i^in. 

S()4S-t2.  Pin  Hi;ads.  ■594,  rcpresenls  a  Hcrm  (the  head  miss- 
ing); 5()4()-H  a  female  bust;  5040  a  pine-cone;  5950  a  plain 
knob;  sc)5i-2  a  pomegranate.  Pins  of  this  fashion  are  com- 
mon in  Cjraeco-Roman  tombs;  the\'  were  probabl\"  in  dail\' 
use,  as  well  as  funerarw  Ls.  4.'    in. —  if   in. 

Ill,  cxvi,  4  (5946);  8  (5951-2). 

595:5-()6.  Other  Toilet  .Articles:  knife-handle  (5953),  pegs 
(5954-5),  piece  of  inla\'  decorated  with  concentric  circles 
(595(-)),  a  female  figure  with  flat  back  (5957),  spoons  (5958- 
61),  ear-picks  (5962-4),  needle  (5965),  and  a  roughl_\'  worked 
awl  (59()b).         Ls.  5-2  in. —  i  in. 

Ill,  cx\'i,  I,  2,  5  (spoon),  7  (5957). 

5967-8.  Shells  of  Dolil.m  G.ale.a,  a  .Mediterranean  mollusc, 
sometimes  found  in  tomb-equipment.  The  generic  name 
"Dolium"  means  a  cask,  and  suggests  that  the  shells  were  used 
in  antiquit\'  as  extemporized  toilet-vessels.        Ls.  4.',  in.,  4^  in. 

5969-71.  Teeth  of  an  Ox.  Such  teeth  were  used  as  burnishers 
and  for  other  household  purposes,  and  are  sometimes  found 
in  tomb-equipment.  Ls.  3^  in.,  3!  in.,  3I  in. 

OBJECTS    OF    LEAD 

These  are  for  the  most  part  miniature  copies  of  statuettes  and 
furniture,  cast  in  lead  like  the  modern  toy-soldiers,  and  probabl\ 
intended  as  tomb-equipment.  The\'  are  of  Hellenistic  or  Graeco- 
Roman  st\le. 

5972-4.  Tables  of  Offerings,  including  cakes,  fruit,  and  meat: 
Ls.  2I  in.,  2:]  in.,  2  in.  Ill,  cxvii,  10-12. 

5975.  .Mirror:  on  the  back  is  an  eagle  in  relief.  L.,  with  handle, 
54in.      D.  1 J  in.  Ill,  cxvii,  3. 

597O-8.  Si"atli;ttes;  5976  two  standing  figures  together;  5977 
CAipiti  pla\ing  the  flute;  5978  horse.  Ls.  1 ;,'  in.,  1  :J  in.,  I4  in. 

Ill,  cx\ii,  8,  7,  9. 

5979.     .A.MPHORA,  with  the  greeting  3'J0j;jl3^  "cheer  up."     L.  i^  in. 

5980-5.  Slino-Blllets,  of  the  regular  mililar\'  pattern  (3031-35) 
and  larger  (5980).  These  are  generall\'  found  in  the  surface 
soil,  not  in  sanctuaries  or  tombs.         Ls.  2f  in.-ig  in. 

Ill,  cx\ii,  2  (3030),  5-6. 

518 


APPENDIX 

OF 

INSCRIPTIONS 


T 


at  all. 


PHOENICIAN   INSCRIPTIONS 

HE  majority  of  these  inscriptions  are  of  late  date,  and 
present  no  difficulty  on  account  of  their  form.  Those  on 
the  vases  479,  775,  1540,  on  the  other  hand,  ofTer  a  few 
archaic    forms,    and    1 540  is    not    certainl\-    Phoenician 


479.     On  a  vase  of  Red  Bucchero  Ware,  incised  after  tiring,  the 
name  of  the  owner, 

Cyprus,  xii,  26.  Birch.    Trans.  Soc.  Bibl.  Arch,  iv,  2^. 

1 1,  c.xli,  1052.     Ill,  cxxiii.  23. 

775.     On  a  vase  of  Painted  White  Ware,  in  black  paint,  applied 
before  firing, 

Cyprus,  X,  9.  II,  cxli,  1047.     Hi,  cxxiii,  21. 

1366.     On  a  sarccjphagus  of  white  marble  the  Phoenician  letter  \\ 

1540.  On  the  bottom  of  a  steatite  vase,  probablv  of  I  lie  ninth  nr 
tenth  centurw  Ihreesif/ns  'f^^^  which  ha\e  been  ri'.iJ  as 
■"nn  l^ut  are  not  certainly  \.^  Phoenician  at  all.  (^xprus, 
xii,  27.  11,  cxli.   loso.      ill,  ixxiii.  24. 


iJSoi.     On  a  block  of  white  marble,  in  seven  lines,  broken  ;it  the 
top  and  at  both  ends. 


r:r"^£  ^r.'iT 


rvciiii 


APPLNDIX    OF    INSCRIPTIONS 

"GN  :j?  1 1  r~::2  .['"x] 

C\prus,  ix,  2,  p.  441.         C.  1.  S.,  i,  14.  Ill,  cxxii,  i. 

1802.    On  a  block  of  white  marble,  in  two  lines,  broken  at  both  ends, 

h>']z::-  ■  ;r^  •  •  • 
b:]z  '":>•  11:  uN 

C\prus,  ix,  4.         C.  1.  S.,  i,  15.  Ill,  cxxii,  2. 

1803-4.     On  two  fragments  of  a  blue  marble  bowl,  in  a  single  line 
around  the  rim, 

r^prorruwsb  ^ziwsb  ^:-wS"i>-  jtJ  (1804)  jr*:ro  "|  (18031 

Cyprus,  x,  14,  i.         C.  1.  S.,  i,  16  a,  b.  Ill,  cxxii,  3  a,  b. 

The  inscriptions  1805  1824  are  on  fragments  of  white  marble  bowls, 
in  a  single  line  around  the  rim,  which  occasional!)  shows  a  spout 
or  a  handle:  1816  however  is  in  two  lines. 

1805.  ■  ••  M-^i  T3  -p-a  •  •  • 

C.  1.  S.,  i,  19.  Ill,  cxxii,  4) 

1806-7-8.  . .  rr^b     III    III    II I  -  [z-Q-  < '806) 
•  •  •  r-Ni  •  •  •  (>8o8)  . . .  ijr"]:"":7j  -pnb  I    1 1 1  •  •  •  ('807) 

Cyprus,  ix,  3,  x,  13.         C.  I.  S.,  i,  21,  17  a,  b,  20. 

Ill,  cxxii, 5  a,  b,  c. 

'809.  ...  -  .  z-c-r  lyh'z  ■  ^t'Ilz^] 

(..  I.  S.,  i,  22  a,  b.  II 1,  cxxii,  6. 

C.  I.  S.,  i,  39.  II,  cxli,  1051.     Ill,  cxxii,  7 

S22 


I'HOHNICIAN    INSCRIPTIONS 


^»'>-  ir^zn:^:-^^^^^  -z-no 


r 
Cyprus,  X,  lo.         C.  I.  S.,  i,  23.  Ill,  cxxii,  8. 

3812.  . .  .  [-pb  ^p^zra  ^^[-Q^]  ■  ■  ■ 

Cyprus,  X,  12.         C.  I.  S  ,  i,  18.  Ill,  cxxii,  9. 

1813  a,  b.    (continuous)    T^t*  r^j:[';:2:"^"::N'b  *:~j<":] 

C\prus,  xi,  21,  xii,  30.         C.  I.  S.,  i,  25.  Ill,  cxxii,  10. 

1814-  [~p]z'  r'^'^ATQ'.'Z'Ci^':  •;":j<b 

Cyprus,  x,  15.         C.  I.  S.,  i,  27.  1 1 1,  cxxin',  1 1. 

1815.  h  zb::  ^"i 

Cyprus,  xi,  16.  C.  I.  S.,  i,  34.  Ill,  cxxiii,  12. 

1816.      The  first  letters  of  two  lines.        (l)]j«{  (2)  Jx":) 

Cyprus,  xi,  23.         C.  1.  S.,  i,  37.  Ill,  cxxiii,  13. 

1817.  jjr^  u;^^]  7x  rdo 

Cyprus,  XI,  20.         C.  I.  S.,  i,  2t).  Ill,  cxxiii,  14 

1818-9.      ]x  ?!"[•••  ('819,).  .  .  ]j-^  u:^^!  • . .  ('818) 

Cyprus,  XI,  19,  18.        C.  1 .  S.,  i,  3  i,  35.         1 1 1,  cxxiii,  1  5  a,  b. 

1820.  On  the  handle.  JiS    7    rt 

C.  I.  S.,  i,  30.  I II,  cxxiii,  16. 

1821.  ]rr;N'p7j[ 

Cyprus,  ix,  6.         C.  I.  S.,  i,  32.  Ill,  cxxiii,  17. 

1822.  ]--  .[ 

C>prus,  ix,  5  (and  28?).     C.  1.  S.,  i,  33.  Ill,  cxxiii,  wS. 

1823.  [r"pfc::;[::uwsb  -:-?<"":?  •  •  ■] 

Cyprus,  xi.         C.  I.  S.,  i,  28.  Ill,  cxxiii,  lo- 

1824.  ]  .  Jl[ 

Cyprus,  xi,  22.         C.  l.S.,  i,  ^6.  HI,  cxxiii,  20 

1 82  J.     ( )n  the  rini  of  a  large  a  hi  ha  ^  Iron,  the  numeral  100,  precciiril 
b\'  the  word  «— --  ai  in  iSjo. 
(Aprui,  xii,  2S.  1 1 ,  cxli,  lo.jS;    lll.cxxin,  jj 


APPENDIX    OF    INSCRIPTIONS 

1826.  On  an  amphora  of  coarse  white  ware,  painted  on  the  side, 

C\prus,  ix,  7.  1 1 1,  cxxiii,  26. 

1827.  On  an  amphora  of  coarse  white  ware,  painted  on  the  side, 
in  three  lines,  complete, 

(3)  ^>-^u    I    (2)  p    I    (i)  z'^ps  'y;2 

C\prus,  X,  8.  II,  cxli,  1049;  III,  cxxiii,  25. 

1828.  On  an  amphora  of  white  coarse  ware,  painted  on  the  side, 

C\prus,  xii,  29.  Ill,  cxxiii,  27. 

1829.  On  an  amphora  of  coarse  white  ware,  painted  on  the  side. 

For  the  word,  compare  1825  111,  cxxiii,  28. 

A  fragment  of  an  amphora  of  coarse  white  ware,  painted  in  several 
lines,  illegible,  quoted  m  Cyprus,  xi,  24.  Atlas  HI  cxxiii  (text), 
has  not  been  found  in  the  Museum. 


524 


CYPRIOTE   INSCRIPTIONS 

IN  revising  these  inscriptions,  the  Museum  has  been  enabled  b}- 
the  courtesN-  of  Dr.  Ludwig  Meister  of  Leipzig  to  make  use  of 
the  last  corrections  and  translations  of  his  father,  the  late  Dr. 
Richard  Meister,  who  visited  the  .Museum  and  made  careful 
study  of  the  originals  not  long  before  his  lamented  death.  The 
readings  and  translations  here  given  are  throughout  those  of  Dr. 
Meister,  but  in  a  few  cases  other  readings  are  added  where  sub- 
sequent study  seems  to  suggest  another  view. 

371-81.  On  \ases  of  Wheelmade  Red  Ware,  of  the  Later  Bronze 
Age,  isolated  symbols,  which  arc  identical  in  form  with 
characters  of  the  C\priote  s\'llabar\',  but  are  earlier  in  date 
than  any  certain  example  of  it  hitherto  published. 

'4  f  f  /\ 

376  377  378  379  3»; 

1  L  cxlii,  1060,  io()i ;     1 1 1,  cxI,  3,  4,  6;  ((S,  f),  10,  11  (^71-3-4-2). 

434.     On   a  \ase  of  C\  pro-.NU  cenaean  Ware  the  following  sign. 
L    probabl\'  derned  from  the  .Minoan  script  of  Crete. 

438.     On  a  vase  of  C\pro-.\l>cenaean  Ware,  the  signs  for  pa,  to, 


and  me  or  le.  il,xc,  775.      1 1 1 ,  cxl,  .Suppl.  1  i. 


474.     On  a  vase  of  Red  Bucchero  Ware,  the  o\sner's  name, 

•0  <  ^  m 

ia    .    le    .    pe    .    mo.      ' laASyij-di.      (r) 
Hall,  xi,  234.  11,  cxiii.   \n(>y,    Ml.  .  xl 

525 


APPENDIX    OF     INSt.RIPl  IONS 
481).     On  a  vase  of  late  Red  Bucchero  Ware,  the  owner's  name, 


te.ro.    pa    .    no        to    .    ta        ko. 

WT^pOvivC.)  ,     TO)    .       TXYCO 

Hall,  .xi,  238  read  the  second  sign  as  le;  Tr/As^avoj. 

1 1.  cxlii,  io(i2  ;  1 1 1,  cxl,  7. 
481.     On  a  \  ase  of  late  Red  Bucchenj  Ware,  the  owner's   name, 

H'^  V 
ta    .    le    .    se .       t)aA-f^; 
Hall,  xi,  230.  11,  cxlii,  1064;  111,  cxl,  1. 

1351.     On  the  right  shoulder  of  the  "Priest  v\ith  a   Dove,"  verv 
faintl\'  traced  in  a  curved  line, 

.    ta    .    se    .    pa    .    pi    .    a    .    se    .  .    Tac  Oayia;    . 

Hall,  xi,  232.  Meister,  G  D.    11,    119a  (2),  p.  181.      Hoff- 

mann,  17(1.  1,  Ixv,  431;   HI,  cxli,  2. 

1 36 1.     On    the  arm  of  a  life-size   statue,  in    one   line   complete, 
.   e    .    ko    .    ta    .    mi    .    ko    .    ra    .    u    .    e    .    mi    . 
£Y(i)  Tajx'.yopa'j  .  v^JLt     . 

Meister  queries  the  third  sign  ta  and  reads  Mikorau,  but  it 
is  fairl\'  clear  on  the  stone;  and  Hall's  suggestion  that  the 
stone-cutter  has  transposed  the  vowels  and  given  Tamigoras 
for  Timagoras,  is  probabl\'  right. 

Hall,  xi,  233.     Meister,  G    D.    H,    119a  (3),   p.    181.     Hoff- 
mann,  175.  1,  iii,  5 ;     11 1,  cxli,   1 . 
1 540.     On  a  vase  of  dark  green  steatite,  three  linear  s\mbols:  .'^^\ 
seep.  521  above.  ^^^^ 
1567.     On  a  blue-glaze  object,  two  isolated  signs  as  follows:  on  the 
top,  the  sign  for  ya.  on  the  edge  that  for  lo. 
Hall,  xi,  236-7.                                                               Ill,  cxl,  12. 
1 059.     On   an   alabaster    vase,    the  signs  loosel>'  arranged  in  two 
rows  round  the  bodv, 

upper  row       pa    .    po    .    i    .    kc. 

lower  rcnv      .e    .    u    .    za    .    ve    .    i    .    te. 

To  judge  from   the  form  of  the  vase,  this  should  be  one  of 
526 


CYPRIOTE    INSCRIPTIONS 

the  earliest  known  inscriptions  in(^\pri(Jte  script,  probahlv  of 
the  tenth  or  ninth  centur>-.  Though  Meistcr's  rendering  is 
ingenious,  it  is  not  certain  that  the  words  arc  Cjreek  at  all. 
Deecke,  56.      Hall,  x,  30;  xi,  2i(S. 

II,  cxli,  1053-4;    III,  cxli,  7a,  b  (plate),  6  (text). 

183  I.     On  a  limestone  chest,  in  three  lines, 

(1).    .  po  .  ro  .  to  .  ti  .  mo  .  e  .  mi  .  ta  .  se  .  pa  ,  pi  .  a  .  se  . 
IIpcoTOTt'^o)         .     r,'j.l     .     Ta;  Uayfx; 

.  to  .i.e.  {2)   .   re  .   vo   .  se  .  ka  .  se  .  mi  .  ka  .  te  . 
.TO)  .  tcp-^/o;  .      /.x!      .  [i>.   .     -/.aTs- 

.  te  .  ke  .  ta .  i  .  (3) .  pa  .  pi  .  a  .  i  .  a  ,  po  .  ro  .  ti  .  ta .  i . 
.    -Or//.i  .    Tai    .       .        Ilayfat       .        'Aypocitat. 
C\prus.  vii,  4().      Picrides,  Trans.  Soc.  [3ihl.  Arch.  \-.  pp.  88-06. 
Hall,  xi,  210.      Deecke,  i.      Hoffmann,  sq.  Ill,  cxxiv,   1. 

1832.  (3n  a  limestone  chest,  in  three  lines,  broken  on  the  left, 
(i).    .    ta    .    se    .    o    .    ta    .    se     .    pa  

Ta;       .[Os]o).       Tac  .    Ilal^ia;  Ti[X'! 

(2).    .    a    .    u    .    ta    .    ra    .    mi  .    ka    .    te    .     .     .     .    o 

aJTap  .     [JLt  .  •/.aTs[Or//.i 

(3).    .    0    .    na    .    si    .    te    .    mi  .    se    . 

'Ova-;f)£:jLt;  .[6 

C\prus,  \  ii,  5 1 .  Pierides,  V.  88-96.  Deecke,  2.  Hoffmann,  60. 
Hall,  xi,  21 1.  Ill,  cxxi\ ,  4. 

1833.  On  a  limestone  chest,  in  four  lines,  broken  on  the  left, 
(i  ).    .    ta    .    se    .    te    .    o    .    ta    .    se 

Ta:               Os(i)       .        Ta;  .   Illa^fa;     t,'^{, 
(2).    .    a    .    i    .    ta    .    ra    .     e     . 

a['J|Tap  .  s|:j.E , -/.aTiOrz/.s    '()va-'.- 

(1,).    .   te    ,   mi    ....  (4).    .i^i    . 

.-Os'X'.l;  0  '.spsJ;  Ta;  I  la-  .  :;-'|a; 

(^xjirus,   \ii.  47.      PieritK's.  \ .   8S-()().  Deecke,    ).      Ilollmaiin, 

61.      Hall,  XI,  2M-  "I,  cxxiv,  S. 

1854.      On  a  linii'^tone  fragment,  hroki'n  at  both  cntls, 
.    .  St.'         [ia         pi    .    a    .    se        e        nil 
.    Ta);    .  Haifa;  t,;j.;. 

The  sign    for  c   is  not   ver\    ^lear,  bul    the  sense  reqinris  n 

5-7 


APPENDIX    OP     INSCRIPIIONS 

C\  piLis,    viii,    s^      Ficridcs,    v.    88-96.      Deecke,   4.     Hoff- 
mann, ()2.      Flail,  xi,  213.  Ill,  cxxiv,  g. 

183S-36.     On  similar  fragments,  broken  at  both  ends, 
18^5.     .  ta  .  se  .  pa  .  pi .  a  .  se  .  .      ]  Ti;   IIa:p!x-:  [ 
1830.     .       [se] .  pa  .  pi .  a  .  se.  .      Tac]     Ila^ia;  [ 
C\'prus,  \ii.  4S.  4().      Pierides,  v.  88-96.      Deecke,  5,  6.     Hoff- 
mann, O3.      Hall,  xi,  211-13.  Hi,  cxxiv,  5,6. 

1837-8.     On  fragments  of  potter\-,  broken  at  both  ends, 
.'837.    .  ta  .se  .  pa  .  pi .  .  ]  "5;  Ila^ffa; 

1838.  .      [se] .  pa  .  pi  .a  .  Ta];  llx^ixl; 

C\prus,  vii,  45,  44.      Pierides,  v.  88-96.      Deecke,  7,  9.      Hoff- 
mann, 63.      Hall    xi,  212.  HI,  cxxiv,  7,  11. 

1839-41       On  fragments  of  limestone  chests,  broken, 

1839.  .     .     .    pa.pi.a.se  ta;]   H^-^ix:;  [r,[v. 

1840.  .    (i).  .se.te.        Ta].;  (-)z[C) 

(2).  .a.o.       ..... 

184 1.  .    .     .    pa.  pi.  a.     .  Tac]  naY(a[;  Tj^x; 
C\'prus,  \  ii,  50,  \'iii,  54,  \ii,  52.      Pierides,  v.   88-96.      Deecke, 
10,    11,  12.      Hoffmann,  63  (10).      Hall,  xi,  212-13. 

1 11,  cxxiv,  ID,  3,  2. 

1842.  On  a  fragment  of  limestone,  broken, 

.     .    o.ne.te.ke.a    .     .     . 
.    ]        av£6r//.3       'A[;ppoc;Ta'. 
Cyprus,  \iii,  57.      Deecke,  13.      Hoffmann,  64.      Hall,  >i,  213. 

Ill,  c.xxv,   I 

1843.  On  ^  statue-base,  in  three  lines,  complete, 

( I;,    e  .  ko  .  to  .  se  .  ka  .  te  .  se  .  ta  .  se  .  to  .  i 

"Iv/.OTO;  •KXzkz'Z'J.ZZ  TWt 

(2).   ti  .0  .  i .  ta  .  pi .  te  .  ki .  si  .0  ,  i 
Oso)'.      t'  'A(;j.):p'.cs;iw. 
(3).      i      . tu  .  ka  .  i .  a  .za . la  ,  i 
'!(•/)      "-'j'/.y-'-  .   aYaOa; 
Cyprus,  i,  3,  p.  207.      13eecke,  37.      Hoffmann,  1^7  (the  dialect 
and  the  direction  of  the  writing  suggest  that  it  is  frcjm  Idalion, 
not  from  Kouklia).     Hall,  x,  201-18;  xi,  2  14.  Ill,cxxv,  4. 

528 


CYPRIOTE    INSCRIPTIONS 

1844.     On  a  limestone  block,  in  three  lines,  complete, 
(i).   ki.li.ka.se     (2).  o  .  ti  .mo.  to.  ro. 
rcXXtxac;  6     Ti;i.oca)p(i)  . 

(3).   a  .  po  .  se  .  ia  . 

In  line  1  the  second  sign  is  //  with  ka  superposed,  so  that 
earlier  editors  read  si;  the  name  Gillikas  is  well  known  in 
Cvprus.  Deeckc,  114  (assigned  to  Cjolgoi  on  Sii'gismund's 
authority).      Hotfmann,  173,  compare  76.     Hall,  \i,  21s. 

Ill,  cx.xv,  (). 

1843.     On  a  statue-base,  in  one  line,  complete, 
.to  .  te   .  o  .  le  .  na   .  i   .  o?. 
.TcI).      Osd>    .  Xr^vafw  .  [fyjxf 

Cyprus,  vii,  4-5.  Deecke,  43.  Hoffmann,  118.  Hall,  x,  3^, 
xi,  215  (who  read  from  left  to  right  and  Iranslaled  as  a 
proper  name,  Phainaleotes).  Ill,  cxxvii,  3. 

1846.  On  a  statuette,  in  one  line,  broken  at  both  ends, 

.    .   ve   .   li   .   pa   .  ti   .   \a    .   to  .   ro  .    . 
.    V z'/j.r. (r.) y.    .         A'.;^avop(o 
Cyprus,  \ii,  42.      Deecke,  44.      Hofl'mann,   i  K).      Hall,  x.   ^4: 
xi,  213:  compare  also  1852  below.  Ill,  cxwii,  (>. 

1847.  On  a  statuette,  in  one  line,  broken  at  both  ends, 

.     .       ke    .   to   .    te    .   a    .    po   .    Ill   .   ni    .     .     . 
zviOrJy.E     -:6(v)cs         '  A-::6a(a)(')v'.         .     . 
Hall,  xi,  2  17.  Ill,  cxx\ii,  S 

1848.  On  a  statuette,  in  one  line,  broken  at  both  ends. 

.  to  .  te   .    a    po.lo.ni  .  le  .0 .  .  .  o  .  i  .  a  .  te  .  si   pa  .  te 
.  t6(v)c£  .  '. \ zo A (>0 (■)-/'..  Osfj). 
.  lo  ,  \  e  .  ia  di .  pi   se  .  o  .  jxi  .  le  . 
Hail,  xi,  2>,].         .\leisler,  Cil).    II,   32a.  HI,  exx\  li,  2,   (,  .] 

1841).      On  a  statiU'tte  liki.'   i''^4<S;   oid\    thr  sign  for  //  rmi.iinN 

Hall,  xi,  2^4.  111.  e\\\  ii,  7 

1850.      On  a  stalue-basr,  in  four  linrs,  ^(ini|drtf, 

( I  ).       a      ri      SI  .  to  .   k<>  .  n<ir  .  si?  .  o  ^  11,1      s|      ia  . 

520 


AI'PHNDIX    OF    INSCRIPTIONS 

(2).    .   u .  nc   .  u   .   ka   .   sa   .   mc  .  no  .  se  .  pe  .  ri   .  pa . 

(3).    .  i   ,   ti   .   to  .  i   .   pe      re  .  se   .  u   .  La   .  i   .  u   .  ne  .  to 

.    Tco'.  IhpjcJTac  .      OviOr//.£ 

(4).    .  ke  .  i  .  tu      ka  .  i  . 

.t(v)    TJ/ai 
Deecke,  4,.      Hoffmann,  120.      Hall,  x,  32;  xi,  215-16. 

Ill,  cxxvi,  4. 

1831,     On  a  fragment  of  limestone,  broken  at  both  ends, 
(i).    .  ka  .  e     \'o  .  se?      Msly^vo/o^f 
(2).    .   me   .   ki   .     .     .         6]   Mz';i[}JM 
(3).    .  lo'        ....         'A::6X]>ao[vi 
Deecke,  4(S.      Hall,  xi,  2i().  Ill,  cxx\i,  2. 

1852.  On  a  statue-base,  broken  at  both  ends, 

.  pa   .  ti  .  sa   .  to  .  ro  .         .  .  .]~x  l\ji(v)cpo)  [ 
Deecke,  49.     HofTmann,  113.     Hall,  xi,  217.     CL\  prus.  \  iii,  38: 
compare  1846  above.  Ill,  cxxvi,  3. 

1853.  On  a  tile,  inscribed  with  the  finder  in  the  soft  cla\',  the 
signs  for  //  .  ko  .  and  ve.  C\'prus,  \i,  33.  Deecke,  52.  Hall, 
xi,  218.  11,  cxlii,  1058.      Ill,  cxli,  5. 

1854.  On  a  fragment  of  a  stone  bowl,  parts  of  two  lines,  which 
ma\'  be  the  beginning  and  end  of  the  same  line. 

(i).    .ti  .mo  .  ke  .  re  .  te  .se  .     to     .  ma  .  ki  .  ri  .  o  .  se  .  o  .  ne 

TcixoxpsTr;;       .    TcI)    .  MaY'.pito;         .  avs[Or,y.i 

(2).    .  se  .    se     .    III! 

.  .  .  Jcnr^c  TcvjjcpjC 
In  line  i  the  third  sign  from  the  end  is  quite  clearly  se:  if  it 
is  not  a  mistake  of  the  stone-cutter,  as  Meister  seems  to 
suppose,  it  may  be  a  personal  name  (in  the  genitive)  deri\'ed 
from  the  deit\-  Alagirios,  to  whom  it  has  been  commonlx' 
supposed  (Deecke  120.  Schmidt,  Idalion,  p.  66)  that  the 
inscription  refers.  Meister  reads  MaY'.p!(i)('.). 
Cyprus,  vi,  35.      Deecke,  121.     Hoffmann,  129.     Hall,  xi,  2^1. 

1 1 1,  cxxxix,  I . 

1855.  On  a  cla\'  lamp,  incised  before  firing, 

.  pi  .  lo  .  ti  .  mo  .       (|>'.aot(;jl(o 

5>o 


CYPRIOTE    INSCRIPTIONS 

Cyprus,  viii,  56.     Dcecke,  142.      Hoffmann,  55.     Hall,  x,  17 
xi,  231.  H,  cxlii,  1050.      HI,  cxl,  14. 

1856.  On  a  stone  palette,  all  that  remains  of  a  long  inscription, 
in  fine  strokes, 

.  o  .  \i  .  i  .  ti  . 
Hall,  xi,  238.     Meister,  GD.  II,  146c.  Ill,  cxxxix,  3. 

1857.  On  a  pediment  from  one  tomb,  in  one  long  line  on  the  archi- 
trave, 

.  e  .  ko:e  .  mi:a  .  ri .  si .  to.  ke  .  re  .  te  .  se:  ka  .  me  .  ne  .  se  .  ta  .sa  .  no 
. 'Eyw:  Tifxf  :         '  AptJ-roxpsTT;?         :-/.3:(;)[j.cv        sjTacrav 
[ka].si.ke.ne.to.i     :  me.ma.na.me.no. i   :    e.u.ve.re.ke.si.a.se 

[•/.aJcriYVTiTO'.      :        tXc[j.va^£vot         :        sj/spys-fa- 
. ta . sa  :  pa . i  :  e  .  u . po  .  te  :  e . ve . re . xa  . 

The  double  points  represent  divisions  between  words  on  the 
stone.  In  spite  of  obvious  difficulties,  the  sentence  seems  to 
be  intended  to  form  two  hexameters. 

Cyprus,  vi,  37.  Deccke,  71.  Hoffmann,  146.  Hall,  x,  21; 
xi,  221.  1,  Ixxxv,  363;      HI,  cxxxvii. 

1858.  On  the  top  of  a  limestone  footstool,  each  sign  in  a  separate 
square  of  a  chequer-board, 

(i).  ki  .  lo  .  za  .ma.po  .  na  .  FtAo'lajj-a  .  ^ova 
(2).  pi  .  le  .  vo  .  ka  .  mi  .  ?  .  <l>!A(A)r,/o  .  •fy.[x:\':y.\ . 
(3).  te  ,  i  .  ti  .  ku  .  ne  .  ?  .  ck  .  iTty.JV  .  [.  .  .  . 
(4).  ?  .0  .  mi  .  pa  .  se  .  ?  .  .  .  .]  .  6  J.'. (v)  .  r.i:.  [  y.y. 
(5).  a?  .  a?  .  mi  .  a  .  zo  .  so  .  i  .  d(;j,)ia  .  'Iw  .  jo) . 
(6).         i?  .  si  .  pe  .  ko  .  mi  .  si   .      l~'.  r.iy.(<)       .       [v.-:- 

(7).        ke?.  a?  .    i    .  to  .  va  .  zo  .      -"/sa      .       i(v)Oo_pa-.(.) 
(8).        vi  .    ?   .  ma .  pa .  sa  .mo.     f[{'K'j)\}.y.    .    r.~j.-l.    .     ;j.(i)- 
(g).       sa?  .  ti?  .  a?  .  te  .    i    .  zo  .      -zl.       .      C'.y(v)OE['l(.) 
(10).       si  .  ti?  .  zo  .    i    .  ra  .pa  .       z-.'C-U)  .  '.iy)-y.r.- 

(11).     ta?  .  ka?.su?,ma  .ta?.  VH.      -.y.      .       ■/.y.z(z)yLy.-.y. 
The  entire  object   is  figured  in  ('.\prus.  \\   I3();    the  iiisciiplii)n 
in  Hall,  xi,  232;  it  is  discussed  fullx'  b\'  .Meisler    C  I),    li.  i-^^i. 
no.  ii()a.;      Verhandlungen     d.    K.    Sachs,    (k'^.    W'iss.    >  phil- 
hist.  kiasse)  Ixiii  doii),  17-51.      I,  Ixxw,  3()o;    111,  c.\.\xi\,  ^. 

531 


Al'l'LNUlX    Ol      INSCKIPI  IONS 

[859.     On  a  small  allar,  in  two  linos,  broken  at  the  end, 
(1).    ...   illegiblo   .... 
{2).    .  a  .  li  .  pa  .  mo  .  o  .  li  .  o  .  pa  . 

.  '.A.(v)':'.9a[jL0)(v)  .  0  .   A[o:pa[v':o'j.  . 
The   name    is    no  doubt   that  of  the  dedicator,  Antiphamon, 
S(jn  of  Daophas  or  Daophanlos. 

C^\  prus,  V,  23,  xl\  iii.  Deecke,  83.  Hoffmann,  i  57.  Hall,  x, 
27;  xi,  225.  I,  xxvii,  89;    ill,  cxxviii,  2. 

i8(jo.     On  a  small  altar,  in  one  line,  apparentl)'  complete, 

from  right  to  left: —  .  lo  .  ti  .  pa  .  ro  .  pe  .  i  .  i  .  na  .  te  .  to  . 
As  this  gi\es  n(j  sense,  Aleister  proposes  to  read  from  left  to 
right,  as  follows: — 

.  to  .  le  .  na  .  \i  .  i  .  pe  .  ro  .  pa  .  ti  .  lo  .[se]. 
.    Tocs     .     va/'.      .   i(;jL)yip(i)    .    IIa(v)':iXo(;)    . 
But    this   is   against    the   direction   of   the    characters.     The 
inscription  ma_\'  not  be  in  Greek  at  all. 

(Ixiirus,  \i,  34.  Deecke,  98.  Hoffmann,  i()7.  Hall,  x,  10; 
xi,  229.  HI,  cxxxi,  3. 

1861.  (Jn    the    handle    of    a    limestone  fire-sho\el,    in    one    line, 
complete, 

.  e  .  ro  .  se  .  tc  .  ke  .     to    .  a  .  po  .  lo  .  ni  . 

"Ilpdj;  (£)0t,7.3        TOJ  'AtTOAACOV. 

The  characters  ha\e  been  outlined  in  paint  and  the  reading 
is  not  so  certain  as  appears  at  first  sight. 

(Cyprus,  i\",  2o.  Deecke,  v,().  HolTmann,  165.  Hall,  x,  18; 
xi,  22S.  1 1 1,  cxxvii,  I ., 

1862.  On  a  limestone  trtjugh  or  chest,  in  three  lines,  complete, 
(1).    .to  .  ti   .  o  .  se.to.xo.i.    (2)   .  no.a.i.sa. 

TO)     A'.o;  zC)  o't-  -vo'j    u:zx 

(3).    .  e  .  ti  .         Ill 

i(j)Tt     .   Tpfa  asTpa  . 
iMeister  notes  that  the  meaning  of  .e.ii.   is  uncertain. 
C\}irus,   ii,  7.      Deecke,    73.      HolTmann,    148.     Hall,   x,    29; 
xi,  222.  1 1 1,  cxxxix,  5. 

1S63.      On  a   fragment   of   a    large    limestone  bowl.     The   text    is 
given  as  it  stands  on  the   st(jne,  and  the  short  lines  are  thus 

532 


CYPRIOTE    INSCRIPTIONS 

shown  in  their  proper  places;  the  head  and  neck  of  the  snake 

limit  the  lines  on  the  left. 

(i).    .  te  .  to  .  ya  .  se  .  o  .  mo  .  nc  .  ku  . 

(2).    .  ti  .  se  .  me  .  a?  .  e?  .  ?  .  e  . 

(3).    .  te  .  to  .  ne?  .  ?  .  a  .  ?  .  ?  .  ? 

(4).    .  pa  .  te  .?.?.?.  ro  .  ne  .  ni?  .ti.se. 

(3).    .  to  .  ta  .  ke  .  se  .  ?  .  ?  .  ?    . 

In  line  i,  ya  ma\-  be  va;  and  the  lower  part  of  kii  is  not  clear. 

In  line  2,  nw  ma\-  be  a  or  /.      In  line    ^,  .Meister   reads  /(■;   it 

ma\'    be    nni,    but    the    sign    seems    to  be   i  on  the  stone.      In 

line  4,  most  of  llie  signs  are   irregularl\-  cut,  and  s(j  damaged 

that   their   number    is    uiicertahi.      In    line    5,    the   last  three 

signs,  to  the  right,  were   read  se  .  sc  .  tc  h\  Mall,  but  are  not 

now  to  be  seen.      C^\  prus,  iii,  13;  p.  144.      Deecke,  87.      Hall, 

.\,  11;  .\i,  22().  I,  kxxxv,  301;    111,  cxxxii,  2. 

1864.  On  a  fragment  of  a  stone  bowl,  broken  at  both  ends, 

.  po  .  mo  .  zo  .  mi  .  to  . 
Cyprus,  V,  27.      Deecke,  109.     Hall,  x,  15;  xi,  230. 

Ill,  cxxx\  iii,  3 

1865.  On  the  foot  of  a  stone  vase,    roughl}-  inscribed    in    a    con- 
tinuous Circle, 

.  c  .  a?  .  a  .  \a  .  sa  .  \'e  .  lo  . 
1  here  is  no  room  for  an\'  other  character  between  the  c  anil 
the  lo;  but  there  is  also  n(j    indication    of   beginning   or   end. 
(^\prus,  iii,   U)  (not   iv.  20,  as  stated   in  the  Atlas).      Di'ecke, 
95.      Hall,  X,  22;  xi,  228.  Ilk  cxxxix,  (>. 

i8()C).      ( )n  a  limestone    trough    or   chest,    in    one   line,  apparenlh 
complete,  and  inleniled  to  be  a  hexamelrr, 

.  t  i  .  mo  .    a  .  1  i .  pa  .to  :  t  i  .  ma  .  o  .  p.i  .  pi  .  \  :i  .  ne  .  t  i .  mo  .  o  .  i .  sr 
.  Tfj.f.) . '.\(vJT'.:^ZT(o  .    I'.j.iu)     .     \\y.:,'.''.y.y      .      zrjj'o'j'.z 
Cvprus,  iv,   15.      Deecke,  (x).     Ilall,  x,  2;  xi,  220-1. 

1,  x\\  ii,  8t  :    IN,  cxxix,   I . 


i8()7.      On   a    fraifnient    of   a    linn'sjone    cIiinI,    in    two    li 


H'^,    :m 


[)arentlv    complelr  al    llir  beginning,   bu!    broken  ai    lln'    >  nd- 

(1).     .   o   .   ta    .   te   .   (, 

(2).    .   pa   .   ta    .   a    .   pi   .    ("or  o) 

(;\'prus,  V,  2S.      D.Tckc,  02.      II. ill.  xi,  22N.  Ill,  >\\\.  -' 

53  5 


APPENDIX    OF    INSCRIPTIONS 


i(S(),S.  On  both  sides  of  a  ihin  slab  of  limestone;  all  the  lines  are 
complete  at  the  beginning,  and  some  also  at  the  end. 
This  inscription  has  been  republished  with  full  commentar\' 
b\  Meister.  l^t^rhaiuJlmigni  d.  k.  sacks.  Ges.  IVissoischaftoi 
{Phil-bistor.  Klassc)  62  (1910)  pp.  233-242,  pi.  1  (where  its 
number  1922  is  that  under  which  it  stood  in  the  .Museum's 
old  Ha)h/book  of  Siojie  Sculptures).  C>'prus,  v,  24.  Deecke, 
8().     Hall,  xi,  225-6.  Ill,  cx.xxvi,  2,3. 

Side  .-\. 

(i).    .  ke  .  va  .  zo  .  vo  .  ne?  .  ta?  .  mo?  ..  se?  .  ta?  .  mo?  .  .  . 
Xi/alw/ov  .         Ai^j-o;?  Aa'^o[.... 

(2).    .  ta  .  po  .  ro  .  \e  .  re  .  mo  .  sa  .  ta  .  mo  .  se  .  ta  .  mo .... 
.Tiypo(v).     /ip[xo)7a?    .   Aijxo;     .Aa;xo[.... 
(3).    .  tu  .  ra  .  \()  .  ne  .  o  .  ri  .  \a  .  sa     .    ta  .  mo.se.ta.mo 
0jpa/6v  o)p'.'{oc-y.?        .     S.i[xoq.      .  Aa;j,o[ 

(4).    .   \a   .  la   .  ka  .  ni  .  o  .  e  .  ko  .     —     .  o  .  na  .  mo.  .  . 
j-"aA7iv'.o(c)  .     £-/(o    .  oiv.y.  .   (ova?    .   [jlo[.  . 

(5).    .  a  .  po  .  ro  .  ti  .  si  .  o  .  se  .  e  .  ko .  I  ]  I    |  j  |  .0  .  na  .  . 
'A^pocij'.oc  .     £X(o  .       si     .   wv3:r[:j.o 

(6).    .  a?  .  ta   .  no  .  e  .  ko  .  I  I  1     |  |  |  .  o  .  na  .  mo  .  po  .  ri .  sa.  . 
"AfJavo(c)?  .  i'/co  .        s;        .    oV/ic.    .       [JLO--op'.j-[.  . 
Side  B. 
(i) 


I  I  I  I  .  o   .   na   .    V   . 

JS'/.a-Tijjaps;    .     wvi:      .  /(pr,':a)? 

(2) ta  .     =     .  o  .  na  .  V 

[dzzj-.T.  .cYy.o-f  .    (ovi     ./(pr,Ta) 
(^).    .  le   .  sa   .   ta.       =       .  o   .   na   .    V  . 

%z7-.y.        .  z'iv.^jzi    .      o)va     .f{^r-i) 
(4).    .  te   .  sa    .  ta   .   i  .  .  .     .  o   .  na   .   •/?  . 

OsjTa         .      ?       .      (ova     .  /(pr,Ta) 
(5).    ,   \a   .  mi   .    te   .  sa   .  ta   .   ?  .  o   .   na   .    7   • 

fxx'.     .        6cjTi:         .  ?  .      (ova     .  /(pr,-a) 
(6).    .  te  .  sa  .  ta  .         —  i  1  M         •     ^>     ■     ?     •    V  ■ 

Gsj-ra        .  Bsy.a-Tl-TapEC  .      (o[va]      ./(pr^Ta) 

(7).    .  mi  .   te   .  sa   .  ta 

:x'.    .         Ojo-ra         .      [oV/a  /(prjTa)  ] 
On  .Meister's  reading  and  interpretation  a  few  comments  ma\-  be 
permitted. 

534 


CYPRIOTE    INSCRIPTIONS 

On  side  A.  line  i,  the  fifth  and  following  signs  are  almost  wholly 
destro\-ed,  and  cannot  be  restored  with  an\-  confidence  from  the 
formula  in  lines  2  and  3.  But  if  these  lines  are  an\-  guide  at  all, 
the>-  suggest  sa  for  ne  as  the  fifth  sign.  In  lines  2  and  3,  the  \-m* 
three  signs  .se.ia.mo.  are  very  much  fainter  than  the  rest,  and 
look  like  the  remains  of  a  former  inscription,  imperfecth'  erased. 
In  the  same  lines,  also,  the  sign  which  is  transcribed  dio  above 
has  no  crossbar,  though  an  earlier  editor  has  traced  one  in  pencil; 
it  is  therefore  possible  to  take  it  as  the  .Minoan  sign  for  100,  just  as 
the  signs — and  |  are  the  Minoan  (and  also  the  Phoenician)  signs 
for  10  and  i  respectivel}'.  This  sets  free  the  group  .  5a  .  ^a  .,  which 
regularly  precedes  the  numerals,  to  serve  as  an  abbre\iation  for 
statercs,  the  Greek  equivalent  of  the  Oriental  shekel.  The  ;;«>  sign 
in  lines  4,  5,  6,  on  the  other  hand,  is  righll\-  read,  and  should 
probabl\-  be  rendered.  .  ."of  me";  the  whole  phrase  thus  meaning 
"m\-  price"  and  denoting  some  kind  of  redemption-mone\-,  pax- 
able  to  the  sanctuar}'  b\-  a  temple-servant  or  a  private  slaw,  on 
emancipation.  The  proper  names  still  present  some  difficulties; 
but  the  changes  already  suggested  make  the  following  reading 
probable: — 

(i).    Xi/7C   Z(i)/o'j  .  [jTaTT^pa;  kv.y.-.hv 

(2).   Ta:;.poc  Vk;,[X'-j'j       .  j-raTvipa^  ky.7.zhv  .[ 

(3).    (-)'jpa/("f)V  'ilz'.'.y,     .z-.yr.r^^y.:,  v/.yr.h'i  \ 

(4^   FaA'/iv'.o;    i/fo  cr/.a,     .wv:z(v)  aoj    . 

(,).    'A:;;poe':j'.oc  iy.f.)  £c,        .  (;)va(v)  [J-oj   . 

(6).   "kavo;  i/co  i;,  .ojva(v)  [xoj,  TTOpfcrxc  [.  .  . 

Reading  i  for  a  at  the  beginning  of  liiu'  6,  we  obtain  Itanos  (a 
Cretan  name  like  Falchanios),  instead  of  .Alhanos.  1  he  latter, 
however,  is  found  in  the  Greek  inscription  1923. 

On  side  !>..  the  group  ..ui.la.  should  in  an\  case  be  gi\-en  tin- 
same  meaning  as  on  side  .\.  unle'^s  therr  is  clear  reason  (itlierwisr. 
The  sign  which  jirrcedes,  though  clearlx'  le  (as  read  hv  Mrislcr)  in 
lines  5  and  7.  is  less  clear  in  lines  3,  4,  and  (>,  ami  ditlrniillx 
shaped;  in  5  in'rhajis  va,  in  4  and  (>  pri)babl\  In  or  Id.  ll  should 
prohabl\-  be  taken  as  the  last  s\  lkd-)k-  of  a  personal  n;inir  m  ea.  h  caM', 
At  the  entl  of  lines  2  and  >,  are  traces  of  one  or  more  sIlmis  alter  I  he  '/- 
shaped  sign  which  .Meisler  read  as  a   digamina;    but    i1h\    do   ii^t 

533 


APPF.NDIX    OF    INSCRIPTIONS 

support  hisc()njccturc/pT]'ra,  and  lookmorelike  .o  .pa  .  The  y-shapcd 
sign  itsell  is  not  an\-  ordinarx'  Cxpriolc  character,  but  probablx'  a 
sign  of  \aluc,  like  those  which  are  used  in  financial  documents  in  the 
Palace  Archi\es  of  Knossos.  The  end  of  lines  5  and  6  is  ver\-  much 
rubbed,  and  the  unit\)rmit\-  of  the  formula  not  certain,  though 
probable.       This  side  nia\   provisionall\   be  rendered  as  follows: — 

(i).   personal  name:  JTa^Tfipoc^)]  csy.a-TSJjapcz^  .  o)vi(v)   V 
(2).  "  :  '|Ta(,T-^pa.;)  s'txoac  .  (ova(v)   ^ or.oi.? 

(3).  "  ]iac:  jtaCTYipac)    2'i/,oj[  .  d)va(v)   'j or.y.': 

(4),  "       ]tou):  JTaCT-ripa^)    Tpsi;  .  (ova(v)   </ 

(5).  ]/aiJL':cT,(c):  --a(T-fipa;)    [     ]  .  (ovitv)   V 

(6).  ■'       ]'::z(;):  'Ta(Tf^pa;)    Ccy.a-THJjapa;  .  o)vi(v)   y 

(7).  "  ]'^[ct;(^):  j-raiTTipa^)    [     ]  .  cova(v)   V 

It  is  W(,)rih  notmg  that  the  onlv  known  cla\-tablet  with  C\'priote 
inscriptit)n  has  likewise  its  re\erse  side  written  upside-down,  as 
in  this  instance:  Meister.  Verk.  k.  sacks.  Ges.  IViss.  Leip~ig  {Ph.- 
hist.  KL)  60,  1908,  pp.  1-8. 

1869.     On  a  \'()tive  relief,  in  four  lines,  complete: — 

{ I ).    .  ka  .  i .  re  .  te  .  ka  .  ra  .  si .  ti .  \a  .  na  .  xe  .  ka  .  po  .  ti  .  \  e  .  po  . 

.  me  .  ka  .  me .  po  .te.vei.se.se. 
.   [xsya    .    [XY]-;roT£    .     pzi<T^^q     . 
(2).    .  te  .  o  .  i .  se  .  po  .  re  .  a  .  ta   na  .  to .  i .  se .  c .  re  .  ra  .  me .  na 
(Jcoi;     .     cpopr^  aOavaTOt;        .        epspa^JLlva 

.pa . ta. ko  .  ra .sa . to. se . 
.    7:a(v)'r'  dy.opczj-:(o^    . 
(3) .     . o  .  vo .  ka  .  re  .  ti  .  e  .  pi .  si .  t  ,1  .  i .  se  .  a  .  to .  ro .  pe  .  te  .  o .  i . 
.    oj    .   yap   .  Tt  .         i-z'.z'-.j.l:,        .      i:v6po)7:c     .    Osw;  . 
.  a  .  le .  tu  .  ka  .  ke  .  re  . 
.  jXO.yi-.'jyJ k  .     yj^g     . 
(4).      te.o   i .  ku  .  me  .  re  ,na  .  i .  pa  .   ta   .  ta  .  a  .  to  .  ro  .  po  .  i 
.  Oso)'.  ,      y:j[x.zgfiv<xi       .  r.i {'/)'-. x.  Ta  .     i:'(v)Op(.)-o'. 
.po   ro  .  ne  .0  .i .  ka  .  i .  re  .  te  . 
vpov3(,u      .     yxipz-i    . 
C\prus.  xliii  (the  object)    and    i,    i     (inscription).       Deecke, 
68.      Mei^ier,  t'l  1).  ii,  68,  (pp.  1 57-9).      HotTmann,  G  D.  i,76-8. 
Hall,  X,  209-11;  xi,  219-20.  1,  Ixxxv,  559;  111,  cxxx,  3. 

536 


CYPRIOTE    INSCRIPTIONS 

1870.  On    a   votive   relief,    above   the  wine-jar  of  the  banquet,  in 
small  characters,  clearlx'  cut, 

.  o  .  pa  . 
The  meaning  is  not  clear;  it  may  be  meant  for  "Opaon,"  the 
title  of  a  rustic  deit>-    at    Amargetti;   compare    1114-S  in  the 
Collection   of   Sculpture.      Meister  reads   also  on    the   upper 
part  of  the  slab  as  follows: 

.te.o.a.       6c(I)  'A['::6XXo)voq. 
These  signs  have  eluded  all  other  obser\ers. 
C\prus,  i\',  21.      Deecke,  82.      Hall,  x,  26;  xi,  224-5. 

I,  Ixxxv,  555;   Hi,  cxxxiii,  2. 

187 1.  On  a  votive  relief,  in  two  lines,  complete, 

(i).   to  .0  .  na  .si .  mo    .  to.te  .  to  .  na.[o]  .0  .  ne  .  te  .  ke  .0  .  na 
TO.  ova3'.ao(v)     .  toBc   .tw.   va[(p|    .   6vi0r,y.£      .'Ova-, 
.si .  ti  .mo  .se  .  to.  i . 

.     -JtT'.JXO^       .    TW  . 

(2).    .  te  .  o  .i  .  to.i  .  a.po.lo.ni  .  [\a].ra.i.  te.me.no.se 
Osw'.      .    TO)    . 'Atoaawv.  .  [iaipa  .  i(v)  .  Ti:j.3vo - 

.i.  tu  .  ka  .i .  Ill  . 

.  [[vlTjy.a-.  .    3     . 
Cvprus,  i,  2.      Deecke,  72.      HolTmann,  147.      Hall,  x,  i  ;   xi, 
221-2.  1,  Ixxxv,  T^H;  111,  cxxx,  1 

1872.  On  a  votive  relief,  in  two  lines,  broken  at  both  ends, 
(i ).    .  pa  .  ro  .  te  .  ta  .  \'o  .  to  . 

(2).    .  a  .  o  .  I  I  .  na  .  mi  . 

The  middle  character   in    line   2  consists  of  two  \ertical    lines 

onl\';  it  nia\'  be  a  numeral,  or  meant  tor  1:0  or  -o. 

(\pn\s,  V,  2().      Deecke,  ()i        Hall,  xi,  227. 

1,  lxxx\ ,  ■-,-■,-;  111,  cxxviii  4. 

1875.      On  a  \-oti\e  relief,  in  three  lines,  cdiiiplete, 
(1 ).    .  ti  .  \  a  .  i  .  te  .  mi  .  to  .  i  .  ic  .  o  . 

(2).    .     1(1     .  J   .  110  .  lo  .  ni   .  (I  .  Ill'  .  te  .  ke  • 

.T0)('.).     '.\.-OAA(.)V'.  oviOr//.; 

(>,).    .   u   .   lu   .   ka  . 

.'j(v)TJ7.a(c)  . 

537 


APPENDIX    OF    INSCRIPTIONS 

Perhaps  the  unusual  u  for  i  in  line  3  results  from  mis-reading 
a  ;;;/  sign  after  the  verb;  it  is  common  for  the  dedicated  object 
to  be  made  to  speak  for  itself  in  this  wa\'.  For  the  name 
Diaithemis  compare  1890  below,  and  ill,  cxl,  Suppl.  1; 
Meister,  G  D.  II,  52  b. 

C\prus,  ii,  ().     Deecke,  74.     Hoffmann,  149.     Hall,  x,  9;  xi,  222. 

I,  Ixxxv,  556;    III,  cxxxiii,  1. 

1874.  On  a  fragment  of  a  votive  relief,    in   three   lines,  complete, 
(i).    .  o  .  na  ,  si  .  o  .  ro  .  :  .  a  .  te 

.      'OvasfwpoCO       'A6t;[... 

(2).    .  o  .  ne  .  te  .  ke  .  :  .  to  .  i  .  ti 

6v£0y;-/,c  tw     .6£[(I) 

(3).    .  to  .  a  .  po  .  lo  .  ni  . :  .  i 

.T(p        'A-oAAcovt  c(v)  [".'JXX 

In  line  i  the  a  is  imperfect,  and  may  well  be  me.  In  line 
3  Meister  reads  nothing  certain  after  ni.  Cyprus,  ii,  8. 
Deccke.  73.     Hoffmann,    130.     Hall,   x,   23;   xi,   222. 

Ill,  cxxxiv,  I. 

1875.  On  a  fragment  of  a   votive   relief,   in   two  lines,  broken  at 
both  ends, 

(1).    .  .  .  te.  na  .  pa.sa.  rc.se.  i .  ka  .  a.  .  .  . 

(2).    .  .  .0.  to  .  (i) .  to.  ra  ;  po.  te  .  ve  .0  :  pa  .  .  . 

The  colons  in  line  2  indicate  divisions   between   words  on  the 

stone.     Hoffmann  suggests  an  Oriental  proper  name  ending  in 

— va'yaprjC  in  line  i.     Cyprus,  i,  4.      Deecke,  89.     Hoffmann, 

162.      Hall,  x,  8;  xi;  227.  Ill,  cxxviii,  i. 

1876-     On  a  votive  relief,  in  two  lines,  broken  at  the  beginning, 
(i).    .  to  .  i  .  tio  .      ]t(I)i  Osw 
(2).    .  ke.  ...  dvsOrJy.2. 

Cyprus,  viii,  62  is  wrongly  quoted  in  Atlas.  Deecke,  107. 
Hall,  xi,  230.  1 1 1,  cxxx,  2. 

1877.  On  a  votive  relief,  in  two  lines,  broken  at  the  beginning, 
(i).    .  va  .  (2).    .lo.  te.  lo. 

C\prus,  V,  29.      Deecke,  103.      Hall,  xi,  230.       Ill,  cxxviii,  3. 

1878.  (Jn  a  votive  relief,  in  two   lines,    broken    at  the  beginning, 

538 


CYPRIOTE    INSCRIPTIONS 
(i) lc?.o?.i?    .e.u.la.    mo.  to  .  te  .se  .  ?  .  ? .  tc  .  ke. 

.  i . tu . ka . i . 
.  Kv)  T'j/at  . 
(2).    .  ?  .  ?  .  r .  ?  .  ?  .e  .  mi .  ta  .  sa  .i . 

?  .    TltJL'.    .  ? 

C\-prus,  vi,    36  (onl\-  line  2).         Deecke,  94  (line  1);  101   (line 
2).      HotTmann  169,  (line  2).      Hall,  xi,  2H).  Ill,  cxxxv,  4. 

1879.  On  a  votive  relief,  a  single  line,  which  Meisler   reads   from 
left  to  right, 

pa  .si .  te  .  mi .       .  llaj;0c;j.t(;); 
but  Hall,  reading  from  right  to  left  (the  more  usual  direction), 

a?.te.na      'AOT;va 
The   two  characters    to  the  left  are,  however,  all  that  can  be 
read  with  certaintw 
Cyprus,  vii,  41.      Deecke,  106.  Ill,  cxxw  3. 

1880.  On  the  helmet  of  a  statuette,   in  rude  letters,  ill-arranged. 

.  a  .  ra  .  a  .  na  .0  .  .  apa  .  i  .  Xad) 
The  first  sign  is  very  carelessly  cut,  and  not  certain.  In 
view  of  the  formula  .o.iui.  in  i8()S,  and  of  the  line  which 
seems  to  separate  the  two  left-hand  signs  froiu  ihe  rest,  it  ina\- 
be  suggested  that  the  whole  should  be  read  from  right  to  left, 
and  interpreted  (I)va  ap,"i(^)  "redemption  of  a  \<)w";  taking 
the  ill-writlen  sign  as  sc.  (^\prus,  ii,  <).  Deecke,  97.  Hoff- 
mann, 166.      Hall,  X,  20;  xi,  228.  HI,  cxxxi,  i,  2. 

1881.  (3n  a  v()ti\'e  ear  of  limestone,  the  letters  crowded  together, 

.  po?  .  ror .  to  .  ta  .  mo  .      I  Ipco-rocajj.) 
But  .Meisler's  reading  underestimates  the  clearness  with  which 
the  second  sign  is  cut;    it  can  hardlx    be  am  thing  but  /.      His 
mo,  too,  is  not    eas\'    to    see;    it    looks    luore    like   A'c.       Hall's 
reading  was  as  follows: 

.  po  ,  i  .  to  .  ta  .  ko  .       <I>otT(o  ':7.'fU) 
The  first  sign,    howexer,    is    iidt    clearh'    f^o.    and  re^eniMes   a 
carelessh'  made  //;    the    following    rendering    is    suggesliil, 

.ti.i.   to.ta.ko.      Av.  rfi)   ('otz   (i)-f('<). 
('.\\nus.    vi,     Y).      Deecke,   105.      llolfmann,  170.      II, dk   \.  7; 
xi,   22()-5o.  1 1,  cxlii,   ios(>.      Ill,  >  \1,   15. 

5-50 


APPENDIX    OF    INSCRIPTIONS 

1882.  On  a  votive  car  of  limestone,  clearly  cut  except  the  sign  for 
mi  which  onl\'  Meister  has  been  able  to  see, 

.  to.  po  .  to.  e  .  mi .      tw   (a)-::^^^)  Tj^JLt. 
The  word  i'-jidj-ro^  would  be  applicable  to  a  deaf  man,  as  well 
as  to  one  deprived  of  his  ears. 

Cyprus,  iii,  18.      Deecke,   104.      Hoffmann,  171.      Hall,   x,  6; 
xi,  230.  H,  cxlii,  1055.      HI,  cxl,  15. 

1883.  On  a  fraj^ment  of  a  votive   stele;   in   one   line,   broken   at 
both  ends, 

.  e .  si .  si .  po .  le . 
The  characters  are  quite  clearly  cut,  except  the  top  of  the  po, 
which  is  chipped,  and  the  5/  (next  to  the  po)  which  looks  more 
like  ka.      Hall,  xi,  235.  Ill,  cxxvi,  i. 

1884.  On  a  disc  made  frcjm  a  fragment  of  Red  Ware,  in  two  lines, 
complete, 

(i).    .pa.ta  si.o.      .(I^:z( v)-:aji(.). 

(2).    :  I  I  I  I  :    (the  numeral  four). 

Note  the  unusuall\-  earlv  form  of  the  si  with  double  base-line, 

and  of  the  0  with  a  \ertical  stroke  up  the  middle. 

C\prus,  vi,  38.      Deecke,  81,      Hoffmann,    156.     Hall,    x,    25; 

xi,  224.  11,  cxlii,  1057;    111,  cxl,  5. 

1887.     On  the  edge  of  a  disc  of  limestone, ->>[<<-     The  meaning  of 
this  sign  is  quite  uncertain. 
Hall,  xi,  235.  I II,  cxxxix,  2. 

1886.     On  a  small  marble  pedestal,  in  a  single  line  running  round 
three  sides, 

(i).   ]a   .  na   .  sa   .  se  .  a  .   i  .   vi vo  .    to  . 

(2).   ]  te  .  pa  .to ro  .  se  .  ma  .  te  .  ka  .  ne  .  to  .  [ 

( ^).   ]  ke  .  a  .  po  .  to  .  ni  .  I  I  I    |  |  | 

The  middle  of  the  front  (2)  and  of   the   right    side  (i)  is  very 
obscure.      Hall    reads  in  front   .  te  .  pa  .  to.  a  .  le.  ro.se  .&c;    but 
douhtfull\';  and  renders  as  follows: — 
'Avi::(j)a;    .  .  .    ':(7)(vj 

los.  7:iv-:(.)(v).   aA(A)'   "fipo);  [J-'  a(vs)OY^-/.av  tw  | 
'A-6a(a)(ov'..     II  I   j  I  I 

The  six  strokes  at  the  end    are  probablv  numerals.      C\prus, 
540 


CYPRIOTE    INSCRIPTIONS 

V,  22.    Decckc,  c)o  and  112.  Hoffmann,  163.    Hal!,  x,  8;xi,  227. 

Ill,  cxxvii,  9-1 1. 

1887.  By  the  left  foot  of  a  statue,  in  two  lines,  broken  at  both  ends, 
( i).    .  e  .  te  .  i .     Ill     .  a  .  ne  .  le  .  ke  .  ti  .  .  .  . 

'i'v.  .Tp(':(p.  GtviOT//.;  T'.[:jLaYopa; 

(2).    .     ta     .  ve  .  i  .  ko  .  na  .  ta  .  te  .  ne  .  a  .  po  .... 

^^(v)         fsr/.ova  Ta(v)Ci       'Az6|aacov'. 

The  .a.po.  at  the  end  of  line  2  ma\'  as  well  be  Aphrodite  as 
Apollo.  C\prus,  ii,  10.  Deecke,  76.  Hotlmann,  1 3 1 .  Hall, 
xi,  228.  1 1 1,  cxxxii,  1. 

1888.  On  a  statue-base,  in  one  line  round   the   upper   edge,  com- 
plete, 

.  pa  .  pi  .  ya  .  mu  .  ko  .  i  .  a  .  o  .  ma  .  mo  .  pa  .  to  .  re 

The  signs  pa. pi  are  cut  in  a  kind  of  monogram,  and  the 
forms  of  ko  and  a  are  unusual. 

Cyprus,  iii,  14.  Deecke,  85.  Hoffmann,  150.  Hall,  x,  12; 
xi,  225.  Hi,  cxxv,  3. 

1889.  On  a  fragmentary  statue-base,  in  two  lines,  broken  at   the 
beginning,  but  complete  at  the  ends, 

(i).  .  .  .  sa  .  ta  .  si  .  ta  .  mo  .  se  .  e     mi  .  se.ko?  .    (2)  .  .  .  ka 

'^-.OL^J'.lT.'^rjC,  r^[U       .  ?  .  .  ? 

C>prus,  ii,  5.      Deecke,    93.      Hoffmann,  104.      Hall,    \i,  228. 

HI,  cxxxv,  I. 

1890.  On  a  statue-base,  in  one    line,    complete   at    the   beginning 
but  broken  at  the  end, 

.  ti  .  a  .  te  .  mi  .  va  .  tu  . 

.      A'.aO;iJL'.(,:)      .    j:acj[,  .  .  .? 
The  name  Dialhemis  recurs  in  1.S75  ab(i\e,  and  in  .\tlas  III,  cxl, 
Suppl.  I  ;  .\leister  CD.  II,    S2  b, 

(Aprus,  iii,  12.   Deecke,    100.      Ilulfmann,   id.S.      Ikill,  xi,   100. 

Ill,  cwxv,  2. 

1891.  (Jn  a  fragment  of  a  statue-base,  in  one  line,  complete, 

.  me  .  no  .  to  .  ro  .  se  .       M  r,vot(.)po-:. 
(  A'jirus,  V,  23.      Deecke,  So.       liolfmann,    iss.       I  I. ill.  xi,  2J  |. 

Ill,  .\.^\^,    ^ 

541 


APPliNDlX    OF    INSCRIPTIONS 

i(S92.     On  a  block  of  limestone,  in  one  line,  not  certainl\' complete, 
.  vo.  sa  .  li .  ko(ro?) .  \a  .  mi  .i .  \  a  .lo. 
Mall,  xi,  2  ^  ^.  III,  cxxxvi,  i. 

i8c)^.     On  a  block  of  limestone,   broken   at   both   ends,  the  words 
divided  as  shown, 

.     .po.io.ni.   I  .te.       .  / \]z6\{X)u)y'.  i)z[u)'.... 
Cxprus,    \i,    40.      I^eecke,    78,    ()()    (upside    down),    and    115. 
HoiTmann,  133.      Hall,  x,  5;  xi,  223-4.  "I.  cxxxviii,  i. 

1804.     On  a  fragment  of  a  statue-base,  incomplete  at   both   ends, 
.  re  za  .  ti . 
C\prus,  vi,  32.      Deecke,  70.      Hall,  x,  14;  xi,  221. 

11 1,  cxxxviii,  2. 

189s.     On  a  block  of  limestone,  in  two  lines,  incomplete    at   both 
ends, 

(1).    .  to?  .0?  .  na  .  SI .  ri .  ?.  (2).    .a. 

C\prus,  V,  30.      Deecke,  84.     HotYmann,  158.     Hall,  xi,  225. 

1 1 1,  cxxxviii,  4. 

i8q6.     On  a  block  of  limestone,  in  one  line,  apparentl\'   complete, 
.to  no.ke. 
C\prus,  \i,   ^1.      Deecke,  108.      Hall,  xi,  230.      Ill,  cxxxix,  4. 

1899.     On  a  clav-  figure  the  C\  priote  character  for  //:  but  see  also 
below,  page  546. 
Hall  xi,  237.  HI,  cxli,  Suppl.  2. 

3552-33.     On  a  pair  of  gold  armlets,  the  same  on  each,  in  a  single 
line  complete, 

■{■  ^  y.  y\^A'    A  t   >"  ^r  ^  '>    ?"  |JJ 
K-  ^1.'  ><  '~\  X  I  /~    t    ?  "^  t  ^^   /!^  ^ 

.  c  .te  .  \a  .  to  .  ro  .  1.)  .  pa  .  po  .  pa  .  si  .  le  .  vo  .  se  . 
.  M"']':cj-"3:(v)cp(t)     Tw      Iliyd)  '^jzi'/Afo:; 

Pierides,  1  rans.  Soc.  Bibl.  .\rch.  v,  PI.  C,  i.  Schroder, 
T.  S.  B.  A.,  vi,  134.  Deecke,  46,  47.  Hoffmann,  i  12.  Hall, 
xi,  216.  HI,  i,   i;  cxli,  6. 

4193.     On  an  agate  scarab,  the  personal  name 
zo.  vo.  te  .  ini.se  .      Z(i)603;j.'.^ 

542 


CYPRIOTE    INSCRIPTIONS 

So  .Meister.  /'VrZ'.  k.  sacks.  Gcs.  IViss.  Lcipiic,  (Phil.-bist. 
Kl.)  Ixiii  (191  I)  S8,  and  PI.  i\-,  6.  The  word  was  formerly 
read,  zo .  \o  te.la.se.  Zoj-ri/.a;.  Said  to  ha\e  been  ac- 
quired in  Sm\  rna.  Ill,  xxxii,  2. 

4291.  On  an  engraved  sard,  the  letters  loosel\-  arranged  around  a 
bearded  head, 

.   te   .   ke  .   to  .  te  .  a   .  mu   .   ko  .  lo  . 

.    (i)0r//.3  .       TOCE      .  'A:j.'j-/.AW 

C\'prus,  xli,  a;  \iii,  35.      Deecke,  51. 

Ill,  xx\iii,   3 ;  xli,  Suppl.  6. 

431 1.  On  a  cxiinder  of  haematite,  in  a  single  line,  complete, 
the  signs  are  of  unusual  form,  and  not  all  identitiable  with 
certaint}'. 

.  ti   .   ro  .  e  .   na  .   si   .       IT)J''0/^ 
Hall  read  the  last  sign  as  ka  ko  xe,  but  the  earl_\-  forms  of  ttie 
sign  for  si  approximate  more  closely  to  that  on  this  stone.      The 
sixth  sign  recorded  by  Hall  is  not  a  sign  but  part  of  the  design 
on  the  c\linder. 
Hall,  xi,  234-5.  Ill,  cx\iii,  4;  cxli,  Supiil.  3. 

4316.     On  a  cviinder  of  haematite,  the  sign  for  pa.      lUil  this,  like 
man\'  similar   linear   figures   which    fill    the  interstices  of  the 
design  on  these  c\linders,  ma>'  be  merel\-  decorative. 
Hall,  xi,  235.  Ill,  cx\  iii,   10;  cxli,  Suiipl.  4. 

4547.  On  a  c\linder  of  haematite,  the  sign  for  hi.  \\ul  see  the 
note  on  4316.      Hall,  xi,  2^6.  Ill,  cx\iii,  2;  cxl,  Suppl.  5. 

4552.  On  the  inside  of  a  silver  bowl,  in  ver\-  clear  well-cUt  letters, 
in  two  lines,  complete, 

(l).     .  e  .  JM  .0  .  ro  .  li .  e  .        '\\~id)Zi<)  At£J  H- '?' >?  L^^  H- 

(2).    .a  .pi.  a.  la  .e.  y.  -^liKy.  r,([j.\  )  h--^XxVX 

Hall  read  »ii  al  tlie  end  of  ihe  se^:nnd  line  bul  il  is  noi  lobe 
sei-n  now.  Ttu'  form  of  tlie  r)  in  linr  1  i^  uiiusiial.  Ihe 
curved  stem  of  the  //  looks  more  like  zo  (Hail)  or  .s;,  Imt 
none  of  the  readings  gi\es  a  known  name. 
Hail.  ProL\  .\m.  Or.  Soc.  O.l.  i^x-.  pp.  .,,  :,,  Mei^lrr.  (  ,  I ). 
II,  32   c,  p.   iSo.  Ill,  xxxm,   1,   (the  bo\\|i;^x!,   <. 

543 


AFFHNDIX    OF    INSCRIPTIONS 

4tS7.     On  the  inside  of  a  siKcr  bowl,  rough!>-   added   b\-  an  inex- 
pert hand,  in  one  line,  complete  but  corroded  at  the  end. 
.  i .  pe .  ro  .  po .  ta  .  ko  .      '  1  {■^)7:zp6T.b)  Tayd) 
The  C'lreek  letters  read   by    Hall  on  another  part  of  this  bowl 
are  \er\   doubtful. 
Hall,  .\i,  236.     HolTmann,  116.  HI,  cxli,  4. 


544 


INSCRIPTIONS  IN  GREEK  AND  CYPR1(3TE 
CHARACIERS    lOGE'IHER 

OCXASIONALLY  inscripitions  are  found  in  which  L'ithiT 
the  same  or  a  different  text  is  cut  in  the  two  serijits  on 
the  same  stone.      The  two  examples  in  the  (l)llection 
are  unfortunately  so  fragmentar\'  that  the\    throw  no 
light  on  either  the  script  or  the  language. 

1897.     On  a  block  of  limestone,  three  inscriptions,  not  certainly  b\- 
the  same  hand,  as  follows: 

A.  (1).  TIM(3AQP0/^  AEIA,  where  the  Greek  T  seems 
to  ha\e  been  mistaken  b\-  the  stone-cutter  for  the  (]\priote 
sign  for  se. 

F3.  (2).  APIMOKIA  AR1-,  perhaps  the  Cxpriote  .d.e.ta. 
for  the  ii'.i  <jf  line   1 . 

(>,).    I'MIPIATOm,  perhaps  the  (^\  priote  :c,  or  iheCireek 
numeral  '1  for  "six". 

C.    (4).    .te.re.  close  to  the  left  edge,  and  much  damaged. 

(5).    .ta.pi.  both  signs  uncertain. 
I'he  names   rimod(.)ros   and    Drimokia    recur  together   in    the 
(ireek  inscription   i()i()  below. 

C^\prus,   p.  421.      (Cjreek   Inscriptions  No.    i<).)      Drecke,  (17. 
Hall,  x,  3;  xi,  21C).  111.  uwix.  2. 

i.S(jS.      (Jn  a  block  of  limestone,  in  one  line  ol  Cjreek  and  three  ot 
(^\priote, 
.\.    (.reek  text  ; — 

H1-:.\I  L\r     of   Ihemias" 

545 


APPI-NDIX    OF    INSCRIPTIONS 

B.   (I\  priole  text : — 

(l).   nc  .  a  .  Ic  .  ro.  vo.o  [ .  .  .  . 

(2).    ka.to.li.o  [.  .  .  . 

(^).    to.  i.  pa.  so.  ?.?  [.  .  .  . 

The  first  lino  is  not  \  ot  road;  tho  second  seems  to  contain 
the  words  tw  Ocw  "to  tho  God";  and  the  third  an  epithet; 
Hall  suggested  zC)  riaji[(ov'.]  "to  the  Possessor";  i.e.  the  god 
of  wealth:  compare  .Meister's  ■noAj/.Tsav w  in  1908. 
C\prus,  iv,  16.  Deecke,  66.  HotTmann,  143.  Hall,  x, 
206;  xi,  2i(S.  1 1 1,  cxxix,  3. 

The  other  inscriptions  published  b\'  Hall  in  Atlas  111,  cxli,  Suppl. 
I,  7,  Q,  10,  12,  are  either  not  now  in  the  Collection,  or  are  not 
recognizable  as  inscriptions.  Those  numbered  111,  cxli,  Suppl.  14-1(8 
were  lost  alroadx  when  the  .Atlas  was  published.  The  coins,  Suppl. 
13  a,  b,  c,  ha\e  been  separated  from  the  Collection  long  ago,  and 
are  not  now  identifiable.     The  following  (p.  542)  is  \er\"  doubtful. 

1899.     On  the  neck  of  a  statuette  of  cia\',  a  sign  /^  like  that  for  //. 
But  it  is  not  certain  that  it  is  intended  for  a  sign;  it  nriy  well 
be  onl\'  an  ornament  added  to  the  necklace. 
Hall,  xi,  237.  Hi,  cxli,  Suppl.  2. 


546 


M 


GREEK    INSCRIPTIONS 

OST  of  these  are  certainlx-  of  late  date,  and  onlv  a  few 
show  any  but  well-established  forms  of  letters.  Bur  it 
must  be  remembered  that  little  is  kncnvn  as  \et  as  to 
the  date  at  which  the  Greek  alphabet  was  introduced 
into  Cyprus,  or  (if  it  was  introduced  earl\)  as  to  the  precise  form 
in  which  it  came.  The  first  two  are  on  objects  in  the  Collection 
of  Pottery. 

958.  On  a  narrow-necked  jug  of  Graeco-Roman  st\le,  painted  in 
glaze-colour  before  firing,  the  owner's  name  Kt-riac;. 
Cyprus,  p.  40.  II,  cxliii,   1067;   111,  cl,  Suppl.  11. 

959.  On  a  narrow-necked  jug,  like  958,  in    the  same   glaze-c(jlour, 
the  owner's  name  "l-']p(o-.      II,  cxliii,  io()();  III,  cl,  Suppl.  10. 

1900.  On  a  statue-base  of  gray  marble:   fine  letters  of  the  third 
centurv  B.  C 

'Apj'.vor,  ^l>'.\xcfKoo)  y,y.'.ici  ^  ' Ap'.jTO/.at;;  'Ap;jTO- 
■/,/v£Oj;    i   ' AA£-:avip£'jq. 

Ill,  cxlvi,  s. 

1901.  On  a  pedestal  of  soft  Egx'ptian  limestone,  not  fnjiii  C\-prus, 
but  bought  at  Thebes  in  ligN'pt :  letters  of  the  third  contur\  !').( ]. 

jr.zz  ^^y.zuM<)Z  IlTOAS'j.aioj  I  toO  Il'OAHuafo j  v.y.l  .^y.- 
z'.'K[zzr,z  !  '.Vp^'.vor,;  ]  Oi(7)v  y'.Ao-rryiTopc.)'/  \  Tsd);  "IJpo'j, 
'Zfj'f.y.yJr.T^z  tottou  '.\a'j.(.)V'.3[oj.  Nut  in  Alla>. 

1902.  On  J  [)cdcstal  of  limestone,    in  one  liiu':  IcI  tcrs    r(iu,i;h  but 
not  late. 

Mr/AOj'/siTfov  0   cf/j.o[:   £0|t//.sv   y.-;yS)r,'.  -.j-/r,: 
Of  the  words  0  Cf/J.o-:  onl\-  the  feel  ol  the  letters  J I'e  pn  serxeti. 

Ill,  .xlii,  2. 

S47 


AFPl-NDIX    OI-     INSC:RIPri()NS 

i{)()^  On  a  slab  of  blue  marble,  complete  on  the  right  edge,  but 
broken  to  the  left,  and  above  and  below:  letters  of  the  first 
century  A.  D. 

v.xl  -zizxc,  \'j-:p;o'j^,  |:zvc£p(i)C7avT(i)v  t^  Osw  b)z,  tJ: 
zaTpta,  STT'.jTaT'j'JvTO^  I  "Twv  ivc£pcz[J-3V(i)V  TTJ^  ToO  iv 
XjTpo;^  '.spou  Oj7(ac  |  t^'.Xo/.paTOj^  Tojy.al    MsvsjTpa 

-TO'j lavopio'j   TO'j    s^T^^dpxo'j  apY'Jpto 

-V avopocl  jOi^vai  tt;  Osy  zoTTipta,  £$'  tov  j 

KAa'jc|;o'j     Kaijapo>;     ^Lls^aj-roj     /.a'. 

£Xt         KjoiVTO'J         ^SPY 

-tou  IlajAO'j  avO'jzaTO'j.  j 

111,  cxliv,   I. 

1904.  On  a  statue-base  of  gray  marble,  complete  except  the  tirst 
line:  letters  of  the  first  century  A.  L). 

[Ko'jp|[3(ov  -f]  [jO'j'/^Ti  [-/.ai  6  BfJExo-]  |  Kocvtov  KacXtov 
'OvwpaTOv,  STuapxov  |  asfTou  coasd)^'  CY][a,oj  ■Po)[j,a((i)v  ] 
•::pc"p.s'jTT;v  l]'."/.cA;a^,  zpcj^c'jTV''  [  IIovtoj  7,a;  BctOj- 
-vfac,  avOj-GCTOv  j  K'jr.go'j.  C'.x  zpovoTiTou  A'.ovjcrto'j 
I  Tou  Tp69(.ovo(;,  Tou  KpaTYjTO^  I  ^gyovzo:;. 

Ill,  clxiii,  3. 

1905.  On  a  block  of  white  marble,  complete  below,  but  broken 
above  and  at  both  sides:  the  lettering  is  verv  late,  almost 
Bxzantine. 

i960. 

■TrivJ'raOAov   .  .  .    acac  [ 

]v  'jr.'K'.'ZfiV ,  ap:jLa,  -nwAr/.ov,  xa^ 

Tp'.lr^pt'/.o'jq  aywva.;,  zsvraOAou^  [ 

.  .  .  .TTjV  5:!0ay;-'.v  aJrou  yiAO-ovia;  [ 

jajTw  Ti  7.3:'.  T-f;   Tra-rpic'. 

crslij.voTTj'ro^  '/,i-^'.y-  HI,  cxlviii,  2. 

190O.     On  a  block  of  blue  marble,  broken  at  the  left  side, 
]j.  'A:;;poB3cc7!o'j 

]y.[iy.z     K'ktj- 
ocvsOsljav   iCYVd)- 

yjip'.v  III,  cxlix,  i. 

548 


GREEK    INSCRIPTIONS 

1907.  On  a  block  of  white  marble,  complete,  but  ill-cut,  and  not 
earl\', 

'OvY;-aY6pa;    jr.kg   tt;;   Yjva'.y.o;    X'.y.;oj 
•/.a;  TT^c  O'jYZTpo;    aJToG,    "AypooiTf;    M  j- 
■/.r,p6l'.. 

y.  (0  ;jLr, ;  '  1']  a  ;  ■/.  0  j  jr; ; 
The  words  aj-roG,  Mjy.r,p6c'.,  and   the  first  letter  of   y.o'j'xr,;, 
are  \'er\'  obscure:   Hall  read  'Po'j^jly;;.     Compare   the    epithet 
Mj^oia  applied  to  Aphrodite  in  the  C",\-priote  inscription  i<S(S,S. 

ill,  cxiii,  2. 

U)()8.  On  a  large  stc^re-vase  of  coarse  late  red  potter\',  incised 
in  one  long  line  around  the  shoulder,  while  the  cla\-  was 
s(jft,  in  late  letters,  probablx'  Graeco-Roman:  fragmentar\- 
in  three  sections. 

'  \T.]6'KK(,)y'.    'Y'Ki-Tt    Y.X['..  .    IIolAjy-TfcaVw]  Tf!J.(i)v[.  ,  .£'J|7_-r,V. 

The  distance  from  y.a .  .  .  to  .  .  .'kjv.-:  is  uncertain:  from 
\y/r.  .  .  .  to  T;;jLO)v,  space  for  four  letters:  noA'jy.':£:zv(o 
(Mcister)  or  perhaps  IloA'jy.Tf/.jLov. :  compare  with  iS()(S. 

1 1,  cxliii,  io()S ;    1 1 1,  cl,  Suppl.  i . 

iqoQ.  On  a  block  of  limestone,  nearl\'  complete,  in  late  careless 
letters. 

'A-oAAcov.     Aay.SjTT,     'Apf-JTOJ^  I  ■j.7.v'-.[j.;,y/j q,     jTrip 
K/.iovo;  1  t]o'j  j'.oj  |  aviOr/z.sv  iv  ".'j'/t, 
The  words  to  J  j-.o  J  seem  to  have  been  inserted  later. 

Ill,  .xlii,  4. 

Kjio.      On    a    bracket    of    red  and   white   marble,  cumplele,  in  one 

line  around  three  sides:  late  letters.  i->rob.d-)l\-  Oraeco  Kom;in. 

W^-.z-v.i'.    \\y.\z\y.'/J.y.:     '0"Ao;jL-'.avc/^     i'jiy.''.\).u)V     J~3p 

OjYaTp'.cf^c  1   lisp'.ivr,;.  Ill,  cxh  i,  4. 

i()ii.      On  a  fragment;ir\'  peiiestal,  in  hue  Kiters  like   loio, 
' \;,-.z\v.i'.    \\y.\zy.'/J.y('.)    X|proper  iKime. 

Ill,  d,  Suppl.  1  1. 

1()I2.      (  )n  a  small  base  of  red  m;irlMe,   in  kite  lellers. 

'Or.y.'jW    I     M:A>:vOi(i)    ^     \\yr.  J.;zy/:,'jZ    \    j-jp   tOj  j':'j  j 
\    \\v.-.y.-;z''/.,'jj   ,    iJyr,-/     L.c- 
Ihe  s\-mbo|s  at  the  end  read  'i-.i'.    r/.-Tfj).  Ill,  ^\l\i,  -'. 

549 


APPHNDIX    OF    INSCRIl'TIONS 

U)iV  On  a  liniostone  statuette,  in  lour  lines  of  late  careless 
letters,  almost  illegible  at  the  elose, 

X:7.avc|po;    'jT.zp     toj   uioO  ,'  TiixaYopoj  | 

ill,  cxlvi,  3. 

i()i4.  On  the  base  of  a  small  statue,  complete,  in  two  lines  of 
late  careless  letters. 

'OXiiaocq  A'.  .Va^pavtfp  cJca|[Xcvo.;  d-zioutv.zy 

111,  cxliii,  2. 

IQ15.     On  the  base  of  a  small  statue,  like  1914. 

Ar^tj^r^Tp'-c  A'.  Aa^paviw  £'jja:j.lsvo;  irscw/.sv. 

ill,  cxliii,  I. 

!()i6.  On  a  block  of  limestone,  complete,  in  six  lines  of  ver\'  late 
letters,  ill-spelt:  the  word  "IIX'.oc  stands  apart  within  a 
wreath. 

ei;  ()£o;  ;  to  ^syi'TalTov  to  £vc6;o|tov  ovo:j.a,  ,  ^or/Jt 

r.iz:,  ce6|:jl30s.  "Ha-.o;. 

The  sxilable  .Ta.  at  the  end  of  the  second  line  seems  to  ha\e 

been  miscopied  from  the  end  of  the  third:  the  text  should  run 

TO   :xiY'.j|TOv  TO  jvcoc6(Ta)jTov  ovo;j.a.  Ill,  cxli\-,  2. 

1917.  On  a  slab  of  limestone,  fragmentary',  in  letters  which  though, 
careless,  ma\'  be  of  the  fifth  centurw 

'Aptc;To[ 

-zjTtov  v.y.\l . 

-TjT'.s  ir.l  1 Ill,  cl,  Suppl.  T. 

IQ18.  On  a  tombstone  with  pediment,  m  one  line  of  fairlx'  earl\' 
letters,  preser\ing  forms  of  the  fifth  centur\', 

IlojS'.CdV/to;    'ir/.'.oc(i)po'j.  lll,cxlvii,  4 

1919.  On  a  block  of  limestone,  in  two  lines  of  letters  very  rough 
but  n(jt  late. 

Ap'.;j.07.!a  !  1\:j.ocwp[o'j 
The  names  both  recur  in  the  C^reek  and  Cx'priote   inscription 
iM()7.  ill,  cxlii,  1. 

1920.  On  a  tombstone  with  pediment,  in  three  lines  of  letters  of 
the  third  or  second  centurx'  B.  (I. 

I](i)Ysvr,;     l!(i)-/.piTOu;  |  [     ]tT3'jc. 

Ill,  cl,  Suppl.  ly. 
550 


GREEK    INSCRIPTIONS 

1921.  On  a  limcsl(jnc  base,  in  letters  n(  the  seeond  or  first 
cenlur\-  15.  C.  X(.)3-iav:</.-:o-:,  111,  cl,  Suppl.  6. 

1922.  On  a  white  marble  tombstone  with  pediment  and  relief,  in 
three  lines  ot"  letters  of  the  first  eenturx'  B.  C.  or  A.  1).,  eom- 
plete  but  mueh  deeaxed, 

1,  cx.w  i,  ()i7;    111,  cl,  Suppl.  K) 

1923.  On  a  tombstone  with  pediment,  in  four  lines  of  well-cut 
late  letters, 

■'AOr,vc   'Apix'.spioj  ;  y^r—i  ,  y/J.lzz. 

1,  cxKiii,  1  \{)-;    ill,  cxlvii,  3. 

1924.  On  a  pedestal  of  limestone,  in  well-cut  late  letters, 

A'.:j;xr,  'AfJr,va!oj  '/pr^o-rr;  yy.l^z. 

Not  published  in  the  Atlas. 

1925.  On  a  small  slab  of  marble,  complete  below  and  at  the  sides, 
but  apparently  imperfect  abo\e,  in  seven  short  lines  of  rough 
letters,  of  the  third  or  fourth  centur\-  .\.  I)., 

]o'.c  yTaov,  ;  Tov  h  Tsyva'.;  '  \}.y.';z'.'^'.-/.y.\z  iv.  '  ^'j.'At.'j.  y_^'(r 
z-Jj'^,  Tov  '3'j.vov  avcpa  I  >  a  •/.-/'.  v  |  re'  'i\y_[i^'.  OavovTa  -;x,. 
The  first  word  of  line  i  was  read  vr,o^;  b\'  llall.  'I'he  metre  is 
unusual;  and  it  is  probable  that  the  first  two  words  closed 
another  couplet,  of  which  the  bet^inning  is  lost,  of  the  same 
structure  as  that  which  I'oUows,  tov  sv  -.lyyy.''.^.  .  .  .'{fj. 

Ill,  cxlv,  1. 

1926.  On  a  tablet  of  white  marble,  in  four  lines  of  letters  well 
cut  but   late. 

KoOoj.;  i  IvJio'j  j  ^y.\y.[j.vAx  ,  yj-'-^- 

111,  cxlvii,  I. 

1927.  On  a  block  of  limestone,  in  six  lines  of  letters,  well  cut, 
of  I  hi'  second  or  third  centLir\     \.  1)., 

i\'ff\    ■    OlAWljlM  •    I  'ib.rt.ii  •    1)()\\IA  ;  Ific)      S(ii;i)-  l-.Sl. 
'loj/.ia   '()>.>,;.-o^    y.-i'/.ijUizy.    Xi^vrjr.y        yy("A,    y_J-'-'^~-. 

HI,  cxlix.  2. 

I92.S.  On  a  fragment  of  a  lombsMmc  brokm  at  llu-  nghl  side 
and  below:  four  rlegiaL  coupKis,  in  late  leilers, 

551 


AlMM-;\niX    OI-     INSCRIPTIONS 

a-Topyfj  Aaoca;j.Uta 

y.xl  T.'.'/j-.r^y  oTI/.O'j 

'IIpMCOJ     ~Jv6|:JLS'jV0^ 

y.z'wx  r.y.^y.'.j[ 

ap-/.2;  ;j.oi  r.oj[>.:; 

jjv'l(i)  7.a|; 

yj.'.^i  v-'J.'-  3v  [yO;;j.svo'.''. 

[ Ill,  cxlv,  2. 

1929.  On  a  fragment  of  a  sepulchral  cippus,  five  elegiac  couplets 
in  late  letters;  onl\-  the  first  half  of  each  line  is  preserved, 

[Ku-Trp];;  (-)u^ 

T/pTrasElv 

[xr^civa  'za-:p(c[ 

YAWJJT;    TJ.y.^hv 

y.ct^at  j-JTO  -/Oov!  ^[f^Oc. 

Tojc   rp'.v   a'::ot7_o'^[ivo'jc 

■/.(.)-/.'j(i)  Yoviwv  YY^p[a; 

70'.  "/xp; ;  3J3a^3[yT; 

c'Jvijov  r;Cr,  0'j;j.o[v 

apx3-a?[p? 

Hall,  in  the  Atlas,    read    a    fevv'   more   letters,    but    not    with 
certaintw  111,  cxlv,  3. 

1930.  On    a    slab   of   while    marble,    in    four   lines   complete,    an 
elegiac  couplet,  m  letters  rather  late,  but  well  cut, 

ci  ■/.%'.  ;jLOtp'.c!ov  -rsAoc  [  r,-;i  zz  ■,'■?;;  'jt.o  yJ/Kr-oiz,  \ 
^Ldj-^Tps  zz'V/i,  Oavo)v  |  y^T-'-^z  '/.'A  iv  c;;0'.;j.ivou. 

Ill,  cxh  iii,   I. 

1931.  On  a  sepulchral  cippus,  in  four  lines,  complete,  an   elegiac 
couplet,  in  late  letters,  roughl}'  cut, 

cz'V/h'/  iz\  -JiZy.z  p!oTOv,  [  :xi-/.ap   " ApT3;j.i;(.)ps,  | 
c7w:;pojjvr//  C'.a  jt;v  |  "/aips  y.y.l  iv  cO'/xivo;;. 

Ill,  cl,  Suppl.  16. 

1932-67.  On  sepulchral  cippi.  in  late  letters,  with  the  customar\' 
lormula  y_:r,z-.z  (or  y^zT^zrr,]  yy.lzz,  or  (i)  7pr,jT£  "/alps  (i9(m) 
or  3'J'yj-/E'.,  IJ930),  oJcs'.^  aOivaTOc  (,194(),  1954),  often  ill- 
spelt.  1  he  numbi'r  in  parentheses  after  each  name  is  that 
of  the  figure  in  .Alias  I,  cxh  i-\  iii. 
552 


GRl-HK    INSCRII'I  IONS 


1932.  Antipas  and   Euodia. 

(1180) 

1933.  Apollonia. 

1934-5.   Apollonides.   (11S2, 

1936.   Arislodamos  and  Ari- 

stagoras.  (i  168) 
1937-S.  Ariston.  (1154,71) 
1939-40.  Artemid()r()s.(i  152, 

73) 

1941.  Artinia.  (1 1()()) 

1942.  Demelrianos. 

1943.  Epaphrodilos.  (1149) 

1944.  Epiktetos.  (1  165) 

1945.  Enchamcncs.  (1161) 

1946.  Euchianos.  (m7()) 
Euodia  (sec  1952) 

1947.  Eupraxia. 

1948.  EutN'chc.  (1  185) 


I94().    Karp.os.  (i  157) 

1950.  Kralca.(i  i74C]\  prus,p.54) 

195 1 .  .Marcianos.  ( i  172  1 
i()52-3.   C)l\mpianos.  (1151,  58) 
i()S4.  Olxnipos.  (1  i7()) 

1955.   ()l\mpos    son    of 

(Jhnipos.  (i  1 58) 
i95().  Onosikrales.  (1153) 

1957.  Oncsimos  (i  17s) 

1958.  Pherctima.  (1  i()4) 

1959.  Philok\  pros.  (1  170) 
I9()0.    Philon.  (1  i()o) 
19()1 .    Khodon.  (1  1 50) 
1962.   Sotcrias.  (1  177) 
19()3.   Sosioros.  (1  181 ) 
19()4-   Thconas.  (1  i()9) 
i9()5-().    I'inion.  (1  1(13. 5()) 
19()7.    Ihcmistion,     son     of 

ThtMnislos    (1  1 5()) 


1968-9.  On  tablets  of  white  marhk\    with    the    usual    formula    yp. 
7_3:Ip£,  and  the  names     -yipt;  (i()()8)  and  K'Jr.'hO'jz  (i()(i9' 

111,  el,  Suppl.  38  (i9()8),   17  (u)()()). 

1970.  On  a  slab  of  white  marble,  reshaped  and  mueh  worn, 

lu:.... 

]a  ir.l  vsiaf^ov 

.Meister  read  the  first  letter  in  line  3  as  a  numeral  a' or  :'. 

111.  el,  8uppl.   5. 

1971.  On  a  bl(K'k  of  limestone,  in  lar.ue  late  letters, 

111,  el.  8upnl.  7 

i()72-83.     On  Rhodian  amphorai  and  other  store  j.irs,  m  i;u|'re-~^e(l 
stamps,  as  tollows: 

i()72,    u'reular,    wnh     Rhodian     llow  cr-de\  i\  e    ni     ihe    .enlre. 
aroinul  il   llie  name  of  the  ma.msl  r.il  e   and  ih.il  (if  I  iie  nionlh. 


333 


APPHNDIX    OF    INSCRIPTIONS 


197^,  circular,  like  h)72:  Aati.oy.piTcu;.  Ill,  cl,  4 

ic)74,  circular,  plain:    izi  <I>'.AO/.piTH'j;.  Ill,  cl,  2 

K)7S,  oblong;  coriiucopiae,  tridcnl,  maker's  name  Mr/zoOsiJL'.oc 

111,  cl,  3 
U)7(),  oblonjj,;  anchor,  maker's  name  '11  pay.X^ojvo;.  Ill,  cl,  1 
K)77,  oblong;    maker's  name  'Ispo/.Asjc. 
i()7(S,    oblong;    maker's    name    ']  I  psty.As-.TO'j. 
i979-<So,  oblong,  and  on  the  rim  of  a  large  jar,  with  letters 
depressed,  the  maker's  name  'EptjLOYSvojc :    both   from   the 
same  stamp.  Ill,  cl,  7,  9. 

i9<Si,    oblong,    with    letters   depressed,    within    a   frame,    the 


maker  s  name 


c.  pi:li.ici 

Z.MARA(^,DI 


I9<S2, circular;  rosette,  with  defaced  letters  around:  ..OX  AXX.. 
I9(S3,  on  the  base  of  a  small  jug  of  poor  late  ware,  the  letters 
fl>II\'  together,  and  .\1  (?)  apart:  probabl\'  a  maker's  mark,  as 
the\'  seem  to  have  been  inscribed  with  a  blunt  point  in  the  wet 
clay.  Ill,  cl,   5. 

19^4.     On  a   statuette  of    terracotta,    incised    before    firing,   the 
name  W'k^j jyo :; ,  probabl\'  that  of  the  maker.  Ill,  cl,  8. 

i9<Sv  On  an  amphora  of  Graeco-Roman  form,  in  red  paint,  three 
vague  s:rawls,  perhaps  monograms,  and  the  word  Trpovoia  in 
cursive  wri;ing.  IIl,cxlv,  1078-9. 

4198.     On   a   chalcedonx'   scaraboid,   in   fifth   century   letters,   the 
owner's  name  Utt^ j'.y.paTT^c.     C^x'prus,  xl,  14.     Ill,  xxvii,  2. 

5979.     On    a    miniature    amphora    of    lead,    the    word    ejO'jij.s;. 

Atlas  111,  Ixxx'iii,  3  anel  5  are  two  glass  \ases  with  inscripti(jns: 
Ay.'^i  rr,'/  vsf/.T//  (for  '/'.y:r,'/}  and  'Kvv[(.)v  iT.u)r,::zy  (for  ir.^jir^zzy). 
These,  as  well  as  the  other  three  vases  Jigure<.l  on  the  same  plate 
of  the  Atlas,  were  found  b\'  C^esnola,  but  were  subsequentlx'  sold  b_\' 
him,  and  came  intcj  the  possession  of  the  .Museum  as  part  of  ihe 
Char\et-.M;ir(ju;ind  Collection.  Another  vase  b\-  l^nnion,  pub- 
lished b\-  (^esnola,  Cyprus,  p.  423,  No.  2O,  is  in  the  British 
Museum. 


CLXI-:iFOR.M   IXSCRIl^I  IONS 

4300.     On  a  c_\linder  of  haematite,  in  three  e(jlunins, 


MMMMMMMiMi 


4300 

"Arba-istar:   son   of    Ibu-Beled:   ser\'ant   of  the  god  Narani- 
Sin  ". 

(^\pru,s,  xxxi,  I.  III,cxviii,  5. 

4301.     On  a  e\h'nder  of  milk\'  chalccdon\-,  in  eight  coUnnns, 


4 ;. . . 

'Sin,     Pjcnefnetor    of    Muhiludr 
\-rfeLl    l^irilier   of    lli';i\rn    and 


:      jud'Av      of        \hr      WnlKI, 

.:irlh:  <  ii\rr  n|    ili,-   In,-  ..I 


APPHNDIX    or    INSCRIPTIONS 

the  Clods:     1  ho  Law  which  supplies    tho   servant   of    Thxsclf: 
iii\    Prince:    I  uran-Agin:  tlio  son  of  Piiri:  the  Reader." 
C\  prus,     xxxi,    3.      Perrot,    fig.    427.       Menant,    Glyplique 
Orientale,  11,  p.  241  ff. 

4302.     On  a  c\linder  of  haematite,  in  two  columns, 


4302 

"  E\'er-haga:  the  servant  of  Nergal." 
Clxprus,  xxi,  2. 


Ill,  cxviii,  3. 


4426.     On  a  spindle-shaped  weight  of  greenstone,  in  four  columns, 
roughl}-  and  perhaps  recently  cut.     Unpublished. 


4426 


556 


SASSANIAN   INSCRIPriOXS 

4409.  On  a  perforated  scal-slone  of  brown  chalcedony,  about  a 
bearded  head.  UnpubHshed. 

4410.  On  a  perforated  seal-stone  of  red  and  while  jasper,  about  a 
"fire-altar".  Unpublished. 

4425.     On  a  clear  carbuncle,  about  a  bearded  heati. 

Unpublished. 


}>  ^^ 


For  these  readings  the  .Museum  is  uidebted  l(j  Dr.  A.  I',  (^nwlev 
)f  .Magdalen  College,  Oxford. 


557 


INDICES 


TABLFS  OF  RFFFRENCF 


CESNOLA. 

ATLAS, 

Volume  1 

SCUI.P 

rUKE 

No.    Hdbk. 

Xo. 

Hdbk. 

Xo. 

lldl.k. 

Xo.    1 

dbk. 

I     1376 

77 

1  I  12 

216 

in  12 

376 

"55 

2     1377 

80 

1  570 

217 

i()<)3 

381 

"5  ■ 

3    '37« 

83 

1587 

2  1C) 

1039 

583 

()4() 

5    >  36 ' 

84 

^74 

222 

1238 

50  5 

019 

6    1 362 

«5 

1866 

247 

1124 

V)3 

12() 

10    1337 

86 

1 569 

248 

1  1  58 

41 '4 

284 

11    I  3  36 

87 

1  109 

249 

1  152 

403 

282 

13      I25() 

89 

1839 

250 

1  1  )(.) 

428 

535 

14    1263 

QO 

M7> 

251 

1123 

45" 

408 

13    1264 

9' 

I  1  1(1  I  1 

255 

1237 

451 

5S1 

21      1 !20 

03 

1  106 

263 

104c) 

452 

(i2() 

22      1  I  l<) 

07 

1,76 

266 

1041 

455 

22b 

2  3      1 066 

08 

1174 

267 

KKl? 

450 

257 

24      1410 

101 

1138 

268 

lOOl 

457 

(182 

23      1416 

102 

M75 

271 

1042 

458 

(1O4 

26      1413 

i05 

ii37 

272 

1071 

45(1 

()8^ 

27      1414 

1  12 

1  160 

275 

102  1 

44" 

084 

2C)      1231 

I  18 

1  130 

274 

idOl 

441 

(iSs 

•(2      1232 

124 

1  i57 

27/ 

1045 

44'' 

(I02 

59    kKx) 

123 

1134 

270 

12()(i 

447 

"74 

42    1024 

158 

1  16^ 

280 

1  i0  5 

448 

18^ 

45    1026 

■50 

I  163 

281 

1535 

440 

(i()7 

44    K'2  5 

140 

I  164 

28^ 

I5S4 

4S(> 

"44 

46    1027 

150 

1161 

283 

1043 

4SI 

(lOH 

47     I02fS 

'57 

i()77 

28O 

11157 

452 

,,(.., 

48    i()7<. 

.38 

1O78 

2S() 

12S() 

4^5 

■1"7 

40    '"'2  3 

164 

1  i()7 

2()2 

128^ 

4S4 

',  S() 

32    1272 

166 

1  i()8 

54'' 

122s 

4SS 

27S 

35    1271 

175 

1  i()() 

<5S 

I  ( » )4 

4OS 

21)11 

34    1270 

184 

1172 

5S0 

1(K)2 

47'- 

'.VS 

37    i"2<) 

lOi 

i(,n(, 

>.(,2 

i  2  ',4 

470  ,, 

;'M 

3S      1 2(l.S 

104 

iO.)S 

^('4 

KlU 

4.S0 

'."4 

30     i<iM> 

i<,s 

KIlS 

>,<'--, 

1202 

4^2 

',!>■■, 

O2     1047 

2(l() 

M  (S 

'.''7 

I()<)1 

4^1 

((1(1 

(:>,           1040 

2n  I 

1207 

',f.S 

1(11/11 

4^'4 

jir 

(.4     104O 

202 

losC 

,(M) 

1  122 

1'"^ 

( 1^ 

()7     |(;,S(i 

2-M 

l(.3S 

17" 

112  1 

4S(, 

■;  1  ; 

OS     |<,S4 

2(i() 

1022 

',7 1 

1  12  ■; 

4^s 

'1 1^ 

70      Ki-jO 

2  1  1 

MioS 

57'. 

"I" 

S"l  ^ 

( ,( i(  1 

76      III  ) 

21  3 

i  < ' ',  i 

57  '"> 

Ins2 

tI  I 

III', 

\o.     I 

dbk. 

S  1- 

014 

Sl<) 

015 

'i20 

017 

■■,2  1, 

:  so 

S-2  S 

140 

i2() 

1  '■>  1 

^-  / 

1  t2 

S?o 

o-S 

5H 

502 

5M 

DiO 

S?() 

031 

S^7 

^95 

s^^ 

2()(J 

5^1) 

21)1 

540 

281 

741 

287 

542 

288 

544 

2()2 

547 

104 

547 

"73 

548 

391 

549 

^84 

5  5" 

W2 

55? 

870 

554 

2^  7a 

555 

?79 

5  5(> 

«73 

537 

872 

55« 

87. 

5  59 

869 

560 

858 

561 

863 

562 

846 

5(M 

H57 

5O4 

845 

570 

299 

572 

095 

574 

()c)2a 

575 

('1)7 

576 

(H)3 

577 

()C)tl 

57t) 

205 

5,S2 

140 

5«5 

136 

5^4 

H7 

5«5 

560 

5«9 

?<'7 

5'X' 

^66 

5^)7 

672 

599 

973 

61  )^ 

^'74 

Oo, 

(.75a 

()()() 

9()8 

()o8 

9()7 

626 

396 

Al'PliNDlX 

Xo.    } 

dbk. 

No.    1 

dbk. 

627 

?Q5 

863 

1  16 

('3  5 

^86 

8()6 

"7 

637 

W4 

8(,7 

>  15 

6}8 

]^^ 

874 

2?2 

641 

39? 

876 

2?I 

642 

381) 

885 

229 

659 

320 

88() 

2  50 

()()() 

330 

88() 

228 

(j()i 

319 

898 

387 

66} 

321 

902 

382 

665 

310 

()o6 

373 

666 

147 

908 

223 

668 

148 

909 

390 

66t) 

146 

C)l() 

227 

671 

418 

912 

368 

672 

417 

917 

922 

673 

420 

918 

399 

675 

?3" 

919 

?98 

676 

238 

920 

413 

677 

308 

921 

406 

679 

412 

922 

400 

680 

411 

92? 

409 

681 

328 

925 

676 

682 

322 

926 

687 

683 

329 

927 

680 

684 

3"5 

9?i 

682 

688 

285 

9?3 

882 

689 

309 

934 

683 

690 

327 

936 

686 

691 

088 

943 

210 

692 

089 

95  5 

216 

693 

087 

957 

207 

694 

086 

960 

208 

695 

405 

()6 1 . 

218 

750 

338 

963 

206 

751 

336 

964 

209 

752 

337 

()66 

214 

806 

181 

96S 

213 

807 

180 

970 

21  1 

808 

179 

971 

219 

809 

178 

973 

204 

8:  1 

182 

973 

220 

813 

072 

976 

222 

814 

073 

')77 

203 

838 

235 

078 

212 

839 

224 

c)8o 

213 

840 

236 

982 

217 

841 

244 

984 

22  1 

84? 

246 

994 

188 

849 

240 

998 

?49 

853 

241 

1024 

193 

854 

242 

1025 

195 

853 

404 

1026 

191 

859 

118 

1027 

192 

862 

1 14 

1028 

202 

No. 

1029 
1030 
10}  I 
10}2 
1034 

1035 
1040 
141 
1042 
045 

>5? 
'54 
148 
149 


152 
153 
154 


58 
59 
160 
161 
162 
165 
164 
165 
166 
167 
168 
169 


72 
7? 
74 
75 
176 

77 
78 
79 
181) 
181 
182 
183 

1301 


Hdbk. 


562 


TABLES    OF    REFERENCE 


CESNOLA. 


lTLAS,   Volume   II 


Hdbk. 

Xo. 

H<ll)k. 

Xo. 

Hflhk. 

Xo. 

IMbk, 

20  U) 

83 

2069 

213 

2  1  ^9 

353 

2305 

2018 

84 

2047 

2l9 

2133 

339 

23(19 

2007 

85 

2()()() 

217 

2C)4() 

339 

2 1 8() 

2001 

87 

2026 

218 

2093 

34" 

2348 

2002 

89 

2(128 

219 

209() 

342 

22()(J 

2CX)3 

90 

2(123 

220 

2125 

344 

2218 

2005 

91 

2027 

22  1 

2()98 

345 

22ij2 

201  1 

99 

2(124 

222 

2121 

349 

2295 

2009 

101 

2  I  30 

225 

2119 

347 

2293 

2(M2 

KH 

21^1 

224 

2020 

348 

2  2(j4 

2004 

104 

208^ 

223 

2(12  5 

349 

2291 

2010 

103 

2(j84 

227 

2133 

3  5'> 

2308 

201  5 

106 

2(j82 

228 

2139 

35' 

23(12 

2014 

107 

2137 

229 

2145 

352 

2  29o 

2016 

108 

2  1  1(1 

250 

2142 

i7^ 

223c. 

2145 

109 

21171 

251 

2141 

3  54 

22()1 

2146 

I  10 

2114 

2^2 

2132 

357 

2223 

2148 

I  1  I 

2124 

255 

1431 

358 

2524 

2  1  30 

I  12 

2115 

239 

'455 

390 

2323 

2151 

1  13 

2  112 

257 

749 

391 

23(10 

2044 

II7 

1436 

238 

2101 

3(J5 

2503 

2043 

1  16 

■457 

239 

2098 

365 

2504 

20J7 

1  19 

2  104 

29() 

2237 

399 

2512 

2035 

125 

22(l8 

2()1 

2171 

399 

23  K^ 

2039 

127 

■455 

2()2 

2239 

37<J 

2307 

2038 

I  30 

202  1 

295 

2(XJ9 

37  > 

2347 

2248 

151 

2030 

293 

2238 

372 

2519 

2253 

■y4 

2038 

299 

2187 

37<J 

2I(,.^ 

2236 

138 

2(1^9 

297 

2185 

377 

22  12 

205  1 

175 

2<M4 

299 

2244 

378 

2213 

2033 

■77 

2(1  ■;() 

270 

2249 

37') 

2  I  99 

2049 

180 

2117 

271 

2  1.Si 

58(, 

22(11 

20^0 

l,Sl 

2()9l 

272 

22^  1 

5.S2 

22112 

2(J36 

184 

2232 

27') 

2118 

38(1 

22(1(1 

20^2 

lS() 

2  299 

2.S(l 

2247 

415 

22(1', 

203} 

187 

214(1 

2H2 

2234 

41(1 

22(1^ 

2  1 8<j 

1S8 

2(M7 

2.S5 

222i} 

42(1 

22(17 

2041 

189 

2293 

287 

2l99 

4^5 

2  2  >0 

2048 

191 

2138 

tSS 

1474 

47') 

■45') 

2(143 

l()2 

2  1  3O 

2i|7 

14'M 

4^4 

1470 

2029 

19'. 

2144 

2i)() 

I4S4 

4S(i 

i4(iS 

745 

1()4 

2149 

^(,9 

2243 

4')4 

14(12 

2161 

103 

21S5 

^07 

22()() 

S14 

21<)3 

2  1 00 

'97 

2  1S4 

V") 

224', 

32s 

22.S') 

20()8 

199 

2147 

',  12 

2214 

5  ■;  1 

22^7 

2174 

2112 

2197 

U-\ 

22<)7 

S  '.') 

J2N-( 

2  122 

2<'i 

210.S 

^  1  '-> 

22  1  1 

^  i'> 

l.l<M 

2  I(i2 

204 

2|fi(l 

<|S 

2221 1 

(H17 

2.'S(  > 

2  120 

2o9 

2l'i2 

<  1') 

222<i 

(,2(' 

2  1  mS 

21  I') 

20S 

2  ',42 

',211 

222--, 

<  i2- 

2  11") 

2I7'» 

210 

2  M  ', 

',27 

22\n 

1  12S 

2  1  1  17 

2  1  77 

2  I  I 

2  1  ',7 

U') 

22]-; 

( 1  ;  (  > 

J  1  1  1  S 

217O 

2  12 

2  1  ',  , 

',  ',  1 

2  ;  \  \ 

'  •  ;  2 

J  ;  '  i(  1 

2()()7 

214 

2  1  ;  1 

',',2 

2  ',  1  3 

' '  -;  i 

2"''2 

3''3 


APPENDIX 

\o. 

H.ihk. 

\o. 

lldlik. 

Xo. 

IMbk. 

Xo. 

Hdbk. 

()M 

2(M)5 

769 

242 

882 

699 

996 

943 

()^() 

2i)S6 

77' 

■77 

883 

697 

997 

984 

0^7 

2276 

772 

'74 

884 

698 

998 

987 

0^1) 

2(H)4 

773 

43' 

883 

696 

ILKJl 

960 

()42 

2097 

774 

334 

887 

6.4 

643 

2081 

778 

4'^ 

888 

345 

LAMPS 

044 

2096 

779 

62 

893 

701 

1002 

2321 

045 

2078 

780 

61 

894 

670 

1003 

2322 

(>4b 

2079 

782 

73 

893 

673 

i(XJ4 

2324 

648 

2089 

783 

73 

902 

920 

1003 

2313 

()4t) 

2087 

784 

64 

903 

926 

1006 

2306 

651 

2088 

783 

63 

904 

921 

1007 

2320 

652 

2083 

790 

3 

9(36 

924 

1008 

2317 

654 

2090 

792 

36 

907 

95' 

i()(J9 

2709 

^^55 

2093 

793 

■3 

908 

793 

1012 

2843 

<>57 

2273 

804 

4 

910 

643 

1013 

2318 

658 

2281 

807 

66 

9' 3 

779 

1014 

2719 

659 

2274 

808 

7 

915 

803 

1016 

2707 

661 

2272 

809 

79 

919 

8.9 

1017 

2708 

66^ 

2301 

810 

81 

()20 

806 

1018 

2S29 

665 

2300 

811 

221 

921 

821 

1019 

2721 

669 

2349 

814 

997 

924 

780 

1023 

2810 

670 

2278 

815 

3'7 

927 

706 

1024 

2736 

672 

2277 

817 

219 

930 

708 

1026 

2739 

674 

2070 

820 

44 

934 

669 

1031 

2369 

678 

1476 

821 

87 

93  5 

672 

1032 

2363 

681 

2073 

822 

43 

938 

375 

1033 

2730 

701 

2128 

823 

33 

939 

370 

1034 

2362 

702 

2127 

825 

46 

940 

369 

1033 

2637 

708 

1480 

826 

49 

942 

725 

1036 

2770 

711 

1478 

828 

151 

945 

771 

1037 

2331 

712 

1483 

829 

1^5 

947 

728 

1(141 

2822 

7'5 

1479 

830 

1  35 

949 

682 

1042 

2797 

7"J 

1482 

831 

136 

958 

734 

1043 

2806 

724 

'483 

832 

'M 

959 

738 

1044 

2828 

730 

i486 

834 

128 

960 

757 

1043 

2H23 

735 

2249 

839 

48 

964 

761 

1046 

2834 

840 

93 

965 

7()<) 

V  ,S  S  h  s 

841 

42 

969 

769 

INSCKII 

TIONS 

74" 

43 

842 

3' 

970 

733 

1047 

773 

742 

86 

843 

32 

97' 

679 

1048 

1823 

743 

3' 

844 

90 

973 

766 

1049 

1826 

744 

82 

846 

89 

979 

986 

1030 

1340 

749 

96 

849 

38 

980 

944 

1031 

1 S 1 0 

750 

83 

850 

84 

98. 

94' 

1032 

479 

752 

80 

831-2 

437 

982 

473 

1033  1 

1660 

733 

92 

833-4 

436 

983 

312 

1034) 

739 

^28 

833 

1701 

984 

3'3 

1033 

1882 

760 

316 

837 

752 

985 

940 

HI  36 

1881 

76, 

310 

861 

503 

986 

936 

n.38 

1833 

762 

303 

863 

502 

988 

938 

1039 

1S33 

764 

3>7 

866 

504 

989 

777 

1060 

376 

763 

313 

867 

5»5 

992 

1727 

!(/)! 

369 

766 

284 

87, 

700 

993 

932 

1062 

480 

767 

266 

874 

608 

994 

951 

I  06  3 

474 

768 

233 

878 

610 

993 

886 

1064 

481 

564 


TABLES    OF    RHFHRHNCE 


No.     Hdbk. 

Xo. 

Hdbk. 

Xo. 

Hdbk. 

Xo. 

Hdbk 

1 06  3     1 908 

1084 

1 708 

1095 

1759a 

I  102 

'744 

1066      939 

1083 

1710 

I  "94 

1737 

1  103  \ 

1067      938 

1086-7 

1703 

1095 

1756 

1  104/ 

■747 

1088 

■733 

1 096 

1729 

I  103 

'74? 

HHLLHNIC 

1089 

1732 

1097-8 

1738 

I  107 

1 769 

VASl^S 

1090 

1 730 

1099 

1741 

1 1 08-9 

280 

1080       1707 

1  09  1 

1763 

1 1 00 

1746 

I  1  !0 

773 

1  08  I       I  706 

I  092 

1738 

1  lOI 

1757 

CESNOL.\.     ATLAS,   Volume   111 


Hdljk. 


I 

2  1 

3  / 


3 
4 

5 

1-2 
3 

4-5 
6-7 
8 


3-4 

5 

6 

7 

8 

14,  16 
11-13) 

1 9  ) 

20  22 
21 
23-24 

25 
26 

27 

28  29 

3" 
31-52  I 

56-57  1 

3? 

34 

35 

38-44 

I 


3552-3 

3338-61 

3556-7 
3562-3 
3683 

3554-5 
3280-1 

3383-4 

3322 

3322-3 

3009-26 

3397 

3006  ff. 

3662 
314:, -8 
3665 
3006  If. 

3?<M 
5283  IF. 

3057-9 

3645  n-. 

5060-1 

5 1 58  ff. 
5654  If- 

5285  IT. 

5282 
4176 
5239-  6(j 

4177 

5?27M() 

U52 

W.i 

')  1  ?7 
5625-5} 

5581a 

3 

4-5 

(, 


Hdbk. 
3027  IT. 
3582 
3289 
3660 
3676 
3396 

3501 

3>45 

3586 
3641 
3642 
5388 

3  593 
3643-4 

3677 
^  ^89 
3  59" 


3599-54"" 
3  5<)8 
5583 
5578   '^2 
5672 
3675 

5674 
5675 
5  5<)l 
5  5')2 
521)7 

52()8  IT. 
3(103 

5  5"4    S 

520'S  IT. 
5 ',(11 
',2(|S   II. 

',2(,r, 


Xo. 

4 

5 


1-8 


'-3 
4-5 


18 


\\  ii 
1 

(1- 
12 
i() 

19 
2  I 

25 
x\  iii 


3002 
3294 

3524-51 

3235-8 
3248-31 
33'7-i8 
56 1  o- 1 4 
36 10-11 
3169-73 
3401-2 
3607 


18-19     34"'  'T. 
1  IT.      3401  IT. 


-19     3116  IT. 
31 56 

4  5062  IT. 

-18  5556  IT. 

15  5  56()   75 

■7  3574    5 

20  5062  IT. 

22  v84()  IT. 

(  1()()2  IT. 

"■^  (  1()()2  IT. 

IS     4"2  5   47 

4"2() 

4052 
>,\(>\ 

4"  54 
4' ".7 


4(12} 

4020 


Xo. 

13 
'4- 


16-17 
18 

1 9-20 
21-23 

X 

1-12 

13 
14-16 

'7 
18 

19-20 
21-22 

23 
24 

23  27 

28 

29-5' 

52 

5  5    54 

55 

5(' 


1  }    14 
13 

l()    17 
18 

K) 


I      } 


2  ( 

X  \  i  i 
1    -; 


Hdbk. 

4"  5  5 
4024-3 
3619-20 
3785 
3946  fl 
3701  IT. 

5839  IV. 
3910  1 1 
3839  IT. 
3240  II. 
3 '77 
3244-47 
3  1  30  IT. 
3240  11. 

325') 
3i)4()  IT. 
5i()() 
5946  IT, 

5"5 
5701  IT. 

5257 

5258 

41)00  tl . 
5()o8  o() 
5"  I  '-,  0 
52S2 
5()OS  O 
}()4"  It 
4000  II. 
}(,ol  2 
4000  tl 

V)4''  11 

5701  11 

17"!  II 

VM'i  Ii 

',701  II 

■;().l''  11 

',701  il 

iTol    11 


iOs 


APPENDIX 

\o. 

Hdbk. 

No. 

Hdbk. 

No. 

Hdbtc. 

No. 

4-5 

394('  1^'- 

ID 

4192 

9 

4104 

2 

6-7 

3700  ty. 

xx\ii 

10 

4057 

3 

8 

3855-6 

1 

4>95 

1  1 

4085 

4 

9-14 

3701  tr. 

2 

4198 

12 

4107 

xxxiv 

1  5-  iG 

3859  tr. 

3 

4168 

13 

4104 

I 

17-20 

5701  0. 

4 

4166 

14 

4105 

2 

2  1-22 

3859  tr. 

5 

4229 

'5 

4106 

3 

2^-24 

3912  tL 

6 

4170 

16 

4088 

4 

2  J    2V, 

3701  ti". 

7 

4210 

17 

4086 

3 

30-42 

3818  tY. 

8 

4178 

18 

4096  ty. 

XXXV 

33-39 

3946  (T. 

9 

4199 

'9 

4102 

I 

xxiii 

10 

4185 

20 

4060 

2 

1-3 

3701  ff. 

1 1 

4278 

21 

4062 

3 

5-7 

3946  ty. 

12 

4197 

22 

4095 

4  '. 

8 

3701  ly. 

xxviii 

23 

4101 

3  * 

9-21 

3912  ty. 

1 

4247 

24 

4104 

xxxvi 

23 

3701  ff. 

2 

4248 

23 

4087 

I 

24^1 

4013-14 

3 

4246 

xxxi 

2 

27-28 

3613, 17 

4 

4251 

I 

4398 

3-3 

29-30 

3164-5 

5 

4291 

2 

4396 

xxx\  ii 

31-32 

3 178  ft'. 

6 

4236 

3 

4401 

1 

35-54 

5210  ti. 

7 

4233 

4 

4397 

2 

33-3<J 

3162-3 

8 

4223 

5 

4201 

3 

xxiv 

9 

4146 

6 

4287 

4 

I -10 

4121  ty. 

10 

4241 

7 

4285 

3 

1 1 

4077 

1  1 

4235 

8 

4200 

xxxxiii 

12 

4078 

12 

4242 

9 

4286 

1-2 

25 

3325 

13 

4222 

10 

4289 

3 

23-7 

4064-6 

14 

4224 

1  1 

4288 

4 

XXV 

15 

4220 

12 

4407 

5 

1 

4051 

xxix 

13 

4405 

xxxix 

2 

4237 

I 

4282 

■4 

4394 

1 

3 

4>43 

2 

4172 

13 

4404 

2 

4 

4' 33 

3 

4283 

16 

4393 

3 

5 

4'45 

4 

4238 

'7 

4399 

4-3 

6 

4151 

3 

4239 

18 

4299 

7-9 

7 

4140 

6 

4244 

19 

4406 

10 

8 

4150 

7 

4280 

xxxii 

1  1 

9 

4149 

8* 

(p.  426 

1 

4403 

12 

10 

4152 

9 

4243 

2 

4193 

■3 

1 1 

4218 

10 

4281 

3 

4402 

>4 

12 

4139 

1 1 

4"74 

4 

4284 

13 

13 

4148 

12 

4234 

5 

4290 

16-20 

'4 

4164 

13 

4221 

6 

4423 

21 

■5 

4209 

14 

4>73 

7 

4393 

xl 

XX  vi 

13 

4243 

8 

4389 

1-13 

I 

4190 

XXX 

9 

4391 

xli 

2 

4189 

I 

4056 

10 

4367 

1 

3 

4167 

2 

4092 

1  1 

4386 

2 

4 

4181 

3 

4093 

12 

4138 

5 

5 

4187 

4 

4094 

>3 

4369 

4 

6 

4180 

3 

4091 

'4 

4370 

5 

7 

4188 

6 

4084 

■5. 

4372 

6 

8 

4196 

7 

4033 

xxxiii 

7 

9 

4184 

8 

4103 

1 

4332 

8 

'Referred  to  under  4299  byi,  not  e.sliibited 


566 


TABLES    OF    REHHRENCE 


Xo. 
xlii 


-9 

-8 
-1  I 

-■4 

-18 


Hdbk. 

337S-80 

3344  ff. 

3576-7 

3^37-8 

329^ 

3089-90 

3918  tr. 
3222-4 
3918  tf. 
3266 
4063 

4(j(x) 


25 

4067 

xiiii 

1-4 

4920 

xliv 

1 

4913 

\ 

498  ^ 

^    ] 

49 1 3 

( 

47"4 

xlv 

I 

4948 

2 

4772 

3 

4950 

xhi 


4702 
49 '9 


3 

4921 

4 

v\ithdra\ 

xl\  ii 

1 

494' ' 

2 

49 1 9 

.*+. 

49 '7 

xh  iii 

I 

4936 

2 

49^" 

3 

494O 

xlix 


492O-8 
4931 

4098 

47^14 
470'.    1; 
4825 

4<)V, 
479,s 

4'/">   4 

49  S  5   4 

49  iS   '' 
4771 


Xo. 

3 
liii 

I- 
liv 

1- 
Iv 


3-5 


hi 
1 

2 
3 
4 
5 

1 

3 
4 

5 

6 

hiii 


hii 


lix 


1X1 


Ixiii 


Hdbk. 
4736-6^ 

4916 

4703 

4769 

4774-7 
4922-4 

4758-63 
4951-2 

4929 
4827 
4728-0 

4909 
49 '  8 
4005-4 

4899 
4900 

4921 
4894 
49 1 2 
4()o9 
4893 

489 1 
48(/j 
4701 
48(^8 

4893 

4819    t7 
4802  Ii. 

481  1 

47')7 
492  s 


47"3 

4SS7  ,, 
47!"  '. 
4741 

47;''  Ii 

47^2 
47  Mil. 
47(1 
47;  7 
47  >  1 
474" 

4719 


Xo. 
Ixiv 


ixv 


3 

4 

5 
!x\  ii 

1-3 

2  4 

3 
lx\iii 

1-2 

4 

3 

9 

7 
8 

9 
ixix 


18 


jxx 


Hdbk. 

48  38 

4854 

4692  tl. 

4933 

4706-12 

4984 

4658-92 

502 1-2 

5020 

5019 

4765 
4766-7 

5027 
5029 

5012 
5013 
5014 

497  > 

4714-8 

4700 

4862  IT. 

4833 

4831-3 

4983-7 

4684  fl. 

4677-81 

4682 

4837 
4836 
4636 
4852 
4851 
4(148 
4'>8  3 
4f^3  3 
49oi 
4S51 

4^'.') 
4^  ^3 
4''^M    7< 
4H42 

461s   4" 

4''"i 

4'MS 

4' '  I  '. 
4<'"3 


Xo. 

Hdbk. 

Ixxii 

1 

2-6 

4695 
4616-20 

Ixxiii 

1-3 
6 

4719-20 

4694 
4786 

lxxi\' 
1 

5 

4726 

4723 
4708-12 

ixxv 
1-2 
3 
4 
3 
() 

7 
!xx\i 

I 

3599-600 
4293 
3398 
4228 
4292 
3387 

3789 
5o()o 

y  4 
6-9 
101 

3    7"i4-7 

(    5()()l-2 

1  37')"  9 
2      3779  ^3 

ixx\  ii 

3 
!xx\  iii 
1-5 

5051 

1    ll  0  S  f 

pie 

;i.'S     w  L'  r  e 

Snk 

1    by    Ccs- 

IKil 
to 

i  ;ind  canic 
the    Muse- 

uni 

as  pari  i)f 

ihe 
.M 

Cliarvet- 
1  r  q  u  a  n  d 

LOl 

eLlion. 

lxx\  ii 
1, 

4 
Ixxix   t 

2,-|sn<,(.^ 
,5      S<.8n 
\  iij  p.issim 

i.\  iii 

I  S74 

I  ^7  1 
I S7  ; 


APPENDIX 

No. 

iidi.k. 

Xo. 

Ildbk, 

Xo.      Hdbk. 

No. 

5 

i(mS 

9 

5978 

8     434" 

10      1 

6 

I(.05 

10 

5973 

9     4345 

I  I      I 

cxi 

1  1 

5')74 

10     4356 

cxxv 

I 

1(>;^ 

12 

5972 

1 1     43  59 

I     1 

2 

I(>4^ 

c\\  iii 

12     4344 

2       I 

3 

164O 

1 

4^)1 

1  >,            4346 

3     ' 

5 

1O60 

2 

4347 

14     4357 

4     ' 

cxii 

5 

4302 

■5     454> 

5     1 

1 

1644 

4 

4311 

6     I 

2 

1O53 

5 

4300 

PHOFNICIAN 

cxx\i 

4 

1631 

6 

4317 

INSCRIPTIONS 

I     I 

6 

1645 

7 

4504 

2     I 

7 

1632 

8 

4327 

cxxii 

3     1 

cxiii 

9 

4309 

I     1801 

4     I 

1 

1650 

10 

4316 

2     1802 

cxx\ii 

2 

1 649 

1  1 

4308 

3 a-b  180^-4 

1     I 

5 

1648 

cxix 

4     1805 

2-4   1 

8 

1628 

1 

4353 

5a-c  1806-8 

5     ' 

9 

1622 

2 

4552 

6     1 809 

6     I 

lO 

l()2IJ 

3 

4342 

7     1810 

7     ' 

cxiv 

4 

4325 

8     1811 

8     I 

I 

I74? 

5 

43  "9 

9     1812 

9-1  I   I 

2 

1550 

6 

4303 

10     1813 

cxx\iii 

3 

,  1548 

7 

4312 

cxxiii 

I     1 

'437" 

8 

4513 

11     1814 

2     I 

cxv 

9 

4329 

12     1815 

3     1 

1 

1 501-8 

10 

435' 

13     1816 

4     > 

2 

1344 

1 1 

4334 

14     1817 

cxxix 

3 

.542 

12 

4328 

1 5  a-b  18 1 8- 1 9 

4 

"3"5 

13 

4326 

16     1820 

2     1 

5 

}   "545 

14 

4320 

17     1 82 1 

3     I 

'  1  360 

15 

4531 

18     1822 

cxxx 

6 

1523 

cxx 

19     1823 

I     I 

7 

1322 

1 

43  5" 

20     1824 

2       1 

8 

1533 

2 

4323 

21      775 

5      I 

9 

1752 

3 

4332 

22     1825 

cxxxi 

cxvi 

4 

4318 

25     471) 

1-2   I 

1 

5959 

5 

4315 

24     154" 

^     1 

2 

5958 

6 

4330 

2  5     1 826 

cxxxii 

4 

5946 

7 

4307 

26     1827 

]     1 

5 

5960 

8 

4305 

27     1828 

2     1 

6 

5942 

9 

4306 

28     1829 

cxxxiii 

7 

5957 

10 

4310 

1     I 

8 

5951 

I  1 

4322 

C'lFRIOTF 

2     I 

9 

5924 

12 

4314 

INSCRIPTIONS 

10 

501  1 

13 

4321 

cxxxiv 

1 1 

5()02 

14 

4360 

cxxi\ 

1     I 

12 

5912 

15 

4324 

1       18^1 

2     I 

cwii 

cwi 

2       1  84  I 

cxxxv 

1.4 

3000a,  d 

1 

4548 

^       1840 

1     I 

2 

5980 

2 

434') 

4     18^2 

2     1 

3 

5975 

3 

4H5 

5     i8^3 

>,            1 

5 

5983 

4 

4534 

6     18^6 

4     1 

6 

5985 

3 

4538 

7     1857 

cxxwi 

7 

5977 

6 

4335 

8     18^5 

1     1 

8 

5976 

7 

4343 

9     1834 

2-3   ' 

Hdbk. 


568 


TABLES    OF     RHFERENCE 


No. 

Hdbk. 

Xo. 

Hdbk. 

Xo. 

Hdhk. 

Xo. 

Hdl. 

cxxwii 

cxli. 

Supplement. 

3 

I()2  5 

24 

i')5(> 

•-5 

.8^7 

I 

Not  in  N.Y. 

4 

I()i8 

2  i 

lOSi 

cxxx\iii 

2 

1899 

cxl\  iii 

2() 

1057 

1 

i8o? 

3 

431 1 

I 

ig2(j 

-  / 

luio 

2 

i8(>4 

4 

4316 

2 

1905 

28 

1964 

3 

1864 

5 

4547 

cxiix 

21) 

10  5(» 

4 

i8()5 

6 

4291 

I 

I  (JO() 

511 

1<)41 

cxxxix 

8- 

II       438 

2 

1(12  7 

51 

1044 

I 

1854 

cl. 

52 

U)5'^ 

2 

1885 

GREEK 

I 

1  {)-() 

5  5 

10(15 

3 

1856 

INSCRII'TIONS 

2 

")74 

54 

l()0() 

4 

i8c)6 

3 

■975 

5S 

105  5 

5 

1862 

cxlii 

4 

i<)7^ 

5(> 

><)40 

6 

iHby 

1 

I9I9 

5 

i()8^ 

57 

1055 

cxl 

2 

I  902 

6 

I()72 

58 

U)()8 

I 

481 

3 

1907 

7 

1071J 

50 

1042 

2 

474 

4 

1909 

8 

I  ()84 

41 

1047 

3 

370  tr 

cxliii 

I) 

1980 

42 

1045 

4 

370  tr. 

I 

191  5 

cl.     Sup 

(ilement. 

45 

!()()! 

5 

1884 

2 

1914 

1 

U)o8 

44 

1052 

6 

370  IT. 

3 

1904 

2 

'    1054 

45 

10^0 

7 

480 

cxiiv 

'     U)  I  1 

4(. 

1048 

8 

370  ff. 

I 

190^ 

3 

1970 

47 

H)4() 

9 

370  ff. 

2 

1 9 1  () 

4 

MSi 

48 

1052 

lO 

370  If. 

cxiv 

5 

1 9 1  7 

40 

U)(,2 

1 1 

370  I1-. 

I 

1925 

6 

1()2  1 

5" 

1055 

'3 

1 88 1 

2 

192S 

7 

i')7i 

51 

1055 

■4 

1835 

5 

I()2() 

10 

051) 

52 

lOS'i 

15 

1882 

cxl\i 

1 1 

958 

S5 

1058 

:xli 

I 

I  98  1 

i() 

H)5I 

54 

iO('7 

I 

1 561 

2 

1912 

17 

H/x) 

S  5 

I  ()(.() 

2 

n^i 

; 

1915 

18 

I()2i) 

5^' 

104s 

3 

4572 

4 

l()l() 

19 

!()22 

104 

1077 

4 

4557 

5 

I()()I 

20 

104" 

i"5 

i<)7S 

5 

i8j^ 

cxhii 

21 

10  5-1 

6 

5552-5 

I 

\i)2(> 

22 

IO(M 

ya-b 

1O59 

2 

i<)54 

23 

1057 

CESNOLA.     CVl^RLS. 

I  he  sequence  of  the  illustrations  in  the  [■'nglish  and  in  the  (ornian  tn 
tions  is  usually  the  same:  where  il  tlilfers,  the  ( ierman  secjiieiue  is  oIimtx 
in  the  list,  and  the  English  order  is  .d lowed  lo  \arv.  hi  some  oi  iln-  pla  ii 
the  objects  are  not  numbered  indi\  iduall y:  in  these  the  coniniis  of  v.\ 
plate  are  listed  in  approximate  order  from  top  lo  bottom  and  lr<im  KM 
right.  Objects  included  in  I  hese  pL'tes  but  nut  idenlilia  ble  in  the  culicv  1  ii 
are  marked  oat  the  point  where  t  hev  occu  r  in  the  plate.  (  )h|i  i  is  m.i  rk 
N.\  .  are  in  New  'I'ork,  Init  do  not  now  torm  a  p.irl  ul  tin-  rxlnbiicd  n 
lection.  I  hose  marked  "not  in  N.Y."  il  has  not  been  possibh  \i>  ir.u 
liut  a  few  objects  figurtd  in  the  plates,  and  now  in  oliur  iiinsiinns  ,1 
marked  "  I'erlin  "  etc. 


lai 

/li.di 

Kd 

litjii 

P- 

47 

P- 

50 

CvnudU       lldl.k. 

Kditioii  .Nunil.c- 

1     I       o 
2       2  I  9.S 


la. 

1 101 
S  1 

U. 

51 

(,.TMI,I1  lldll. 

I'dllM,,       \ll„,l.,   I 


,69 


APPENDIX 


Kdition 

P 

^1 

P- 

51 

P- 

60 

P 

53 

P- 

34 

P 

54 

P- 

54 

P- 

34 

P- 

54 

P 

55 

P 

40 

P- 

41) 

P- 

65 

P 

68 

P 

08 

P- 
Pl 

68 
.  I 

pi  II 

pl.  Ill 

pl.  IV 


pl.  V 


Cicrniaii 
Kdition 

I   6 


Xunilicrs 
2224-9 
204() 


11    2 

1461 

3 

1367 

4 

1372 

111    I 

182s 

2 

1660 

3 

1935 

4 

1930 

IV   1 

0 

2 

938 

3 

0 

V  I 

505 

2 

775 

3 

0 

4 

0 

VI 


VI 1 


X 


XI 


o,  4031 
3283-7 
3136 

3447tT- 
o,  o,  o, 
o,  o, 

3678-82 

3i70tr. 
3ii7tr. 
4080,  o 

O,    536,  (: 


VIII         o 
IX        4561 


4896 
4811 

4863 

4854 

4794 
4889 
4888 
3004 

4887 
5012 

502() 

5023 

4864,  n 

4698 
4649 
4635-47 


English 
Edition 

pl.  V 


pl.  VI 


pl.  VII 
P-  95 

p    lOI 


p,  102 
p.  102 


pl,  VIII 


pl.  IX 


106 

114 

1 10 
1 10 


Gcrm.in 

Hdbk. 

Edition 

Numbers 

XI 

4831-3 

4839-43 

4830 

4776-8 

4787-8 

4696 

4708 

4616-34 

4844-5 

4635-47 

4694,  0 

4695-7 

4706-12 

XII 

2003 

2004 

2002 

2026 

2150 

2014 

201  3 

2016 

2148 

2146 

XIII 

0,  0,  0, 

31,0 

83,0 

XIV  I 

61 

2 

0 

3 

936 

4 

0 

5 

0 

6 

1370 

7 

'574 

8 

1573 

XV 

0,  389 

323 

0,  0,  0, 

0,0,  999 

997 

996 

XVI 

46,  0.  54 

72,    69 

71,    0 

X\'ll    I 

1405 

2 

1223 

3 

1411 

4 

1390 

pl.  X 


X\'lll 


1364 


570 


TABLES    OF    REFHRENCH 


I^nplish 

German 

ndi.k. 

English 

(k-rnian 

Hdbk. 

Edition 

Edition 

Xunil)crs 

Edition 

Editi 

jn 

Nuinbcr-- 

pi. 

XI 

XIX 

Berlin 

P    I5(^ 

XXX I  \ 

I 

12<)2--i 
12  04 

P- 

117 

XX 

I 

1420 

p.   144 

2 

1865 

P- 

117 

2 

3 

1418 
0 

p.   138 
P    157 

XXXV 

3 

I 

1227 
I  262 

P- 

23 

XXI 

1 

1257 

P     15} 

2 

1291 

P- 

31 

2 

1363 

P    153 

3 

•327 

P- 

32 

XXII 

1351 

pi.  XIII 

XXX\I 

N.Y 

pi. 

Xll 

XXIII 

1360 
1368 

p.  140 
p.  131 
p  151 

XXX\I1 

I 

2 
3 

2082 
21)88  !l 
0 

P- 

36 

XXIV 

1368 

p.  164 
p.  164 

4 
5 

22S1 
2012 

P- 

60 

XXV 

1406 

p.  164 

p.  158 

6 

7 

2085 
"75 

P 

51 

XXVI 

I 

1408 

i()8  5 

P- 

49 

2 

1407 

1684 

P- 

49 

3 

i87(j 

1680 
1682 

P- 

43 

XX\1I 

1 

■352 

1687 

P- 

31 

2 

'353 

0 

p. 

29 

XX\III 

I 

\,Y. 

p.  181 

XXXVI 11 

I 

62() 

P- 

29 

2 

N.Y. 

p.  181 

p.  190 

2 
3 

0 

P 

45 

XXIX 

I 

1357 

p.  190 

4 

0 

P- 

45 

2 

135O 

p.  131 

XXXIX 

1 

N  ^ 

P- 

41 

XXX 

I 

1286 

p.  205 
p.  20) 

2 
3 

2  K  10 
2(14  1 

P- 

41 

2 

1272 

p.  203 

4 

2n()S 

P- 

4' 

3 

1280 

P- 
P- 

4' 

80 

4 

5 

1312 
0 

p.  207 
p.  207 

p.  210 

XL 

1 
2 

■4^7 

18-I', 

P- 

41 

6 

1281 

3 

0 

P- 

41 

7 

0 

p.  216 

4 

0 

P- 

41 

8 

I  no 

(),  216 

5 

1072 

P 

41 

9 

■295 

p.  216 

6 

P- 

54 

XXXI 

I 

1266 

p.  220 

XLl 

1 

N  ^^ 

P- 

54 

2 

12^8 

p.  250 

2 

(;,S(i 

P 

45 

3 

1380 

p.  2)() 

5 

1 4(jN 

P- 

57 

4 

1661 

p.  230 
p.  2^0 

4 
5 

" 

P- 

52 

XXXII 

I 

1244 

P 

52 

2 

0 

P     2>,>, 

XI, 11 

I 

viol 

P 

55 

3 

1250 

1'     240 

2 

I  Ii)'i 

P- 

76 

4 

" 

p.    247 
p.    247 

4 

■1  '•! 

JIO 

P- 

55 

XXXIII 

I 

:4'") 

P 

59 

2 

1  "u  '■ 

1'    24  i 

.\  1 , 1 1 1 

1 

P- 

59 

3 

183S 

p.  247 

2 

1,40 

APPLNDIX 

•nglish 

CuTm^in 

Hill.k. 

Kn.dish 

German 

Hdbk. 

IMitiou 

IMition 

Nuiiiljcr.-i 

Edition 

Edition 

Numbers 

p.  248 

Xllll    3 

0 

pi.  XXV 

L\1II 

3 
4 

3382 
3660 

pi.  XIV-XV 

XLIV-V 

1363 

pi.  XXII 

LIX 

3397 

p.  250 

XLVlll    1 

1098 

p-^^y 

2 

2127 

pi.  XXI 11 

LX 

3298 

p.  239 

3 

2128 

p.  207 

4 

1363 

pi.  XX IV 

LXl 

3396 

pi.  XVI 11 

XLIX 

1643 

p  325 

LXll 

I 

3598 

1634 

p.  326 

2 

3381a 

1604 

1637 

pi.  XXVI 

LXIll 

4193 

1629 

4179 

1628 

3283-4 

1639 

3601-2 

1626 

4181 

1644 

1630 

pi.  XXVI 1 

LXIV 

3322 
3323-4 

p.  268 

L  I 

436 

3235-7 

p.  275 

2 

81S 

4131 

p-  27s 

3 

0 

4163     c 

p.  276 

4 

4502 

4172 

p.  276 

5 

4486 

3.78  ff. 

p  276 

6 

4475 

32 1  off. 

p.  276 

7 

4481 

pi   XXVI 11 

LXV 

3369 

pis.  XIX-XX 

Ll-Lll 

0 

3367-8 

4771 

p.  272 

LI  11    I 

0 

3374-5 

p.  2S8 

2 

1366 

P  28 3 

3 

1404 

p.  329 
p.  442 

LXVl 

I 
2 

4554 
49  "4 

p.  301 

LIV   1 

0 

p.  306 

2 

3552-3 

P  33" 

LX\1I 

I 

1017 

p.  309 

3 

3001 

p.  297 

4 

3.78-83 

pi   XXIX 

LX\lll 

1 

1701 

p.  310 

5 

3248 

p.  310 

3401  ff. 

p.  300 

LXIX 

I 

0 

p.  310 

3353-8 

P  333 

2 

768 

p.  310 

3367-8 

P-  333 

3 

545 

p.  310 

LV   I 

4164 

P  337 

4 

4360 

p.  310 

2-3 

4074 

p.  311 

4 

33=;8-9 

P-  335 

LXX 

I 

4704 

p.  311 

5 

3280-1 

p.  412 
p.  336 

2 
3 

0 
4971  ff 

p.  312 

LVl    . 

3391 

4961  ff. 

p.  312 

2 

3398 

p.  312 

3 

3002 

pi.  XXX 

LXXl 

4917 

p.  316 

4 

4551 

4913 
4916 

pi.  XXI 

L\ll 

0 

4762 
4766 

pi.  xx\- 

LVl  11    1-2 

3603-6 

4764 

57' 


English 
Edition 


pi.  XXX 


P-  344 


344 
344 
344 
330 
350 
350 

345 
346 

347 

347 


p.  350 


pi.  XXXI 


pi.  XXXI 


TABLES    OF 

REFHRENC 

E 

German 
Edition 

Hdbk. 
Numbers 

English 
Edition 

German 

Edition 

Ildl.k. 
Xuml)er 

LXXI 

4765 

pl.XXXIII 

LXXMl   24 

4320 

4702 

2S 

4552 

0,  0,  0 

26 

4343 

LXXIl   I 

1470 

27 
28 

4324 
4328 

1462 
1480 
1469 
1464 

29 

4333 

30 
31 
32 

4325 
43  3  3 
4352 

1466 

2 

1268 

pi.  XXXV 

LXX\-1II    , 

4181 

3 

0 

2 

4 '  7" 

4 

1022 

3 

0 

5 

■251-5 

4 

4192 

6 

0 

5 

4406 

7 

0 

16 

0 

LXXI  II   1 

5014 

17 
20 

0 
4'45 

2 

N.Y. 

22 

4184 

3 

N.Y. 

23 

4148 

4 

0 

24 

0 

LXXIV  I 

4059 

pi.  XXXVI 

LXXIX    I 

4164 

2 

4056 

I  a 

4 1  ()6 

3 

4057 

2 

4131 

4 

4038 

3 

4196 

5 

4061 

4 

4407 

6 

3289 

5 

4035 

7 

4386 

6 

7 

4197 
4149 

LXXV  i 

4300 

8 

4146 

2 

4302 

3 

4301 

pl.  XXXX'II 

LXXX  9 

4132 

4 

0 

10 

4 '  3*' 

5 

4360 

1 1 

4190 

6 

4310 

12 

4140 

7 

4309 

13 

41  V) 

8 

4329 

14 

42(H) 

9 

4^I2[ 

1  T 

4187 

10 

4331 

If) 

44"3 

1  I 

4303 

■7 
iS 

4  "80 

4M)I 

LXXV  I    12 

43'M 

1') 

4l,SS 

13 

4527 

pi,  XXX\II 

■4 

4^,8 

I.XX.Xl   20 

■t'4< 

15 

4H" 

2  1 

-|I')S 

16 

43r/) 

22 

•1'.')', 

'7 

4^50 

2  ', 

■1 1  7' 

i« 

4'>','-> 

-!  1 

4217 

K; 

4i54 

2S 

.(l-tS 

20 

4 '.41 

2(1 

i> 

2 1 

4 '.4') 

27 

.4 '.'IS 

22 

(1 

2S 

417^ 

pl.XXXIII    LXX\II   23     4357 


21) 

3" 


4  ■;').- 


575 


APPENDIX 


K.lili, 


C.erman      H(ll)k. 
iMlitiiin    XunilxTs 


XXX IX     LXXXll    I 


pi.  XL 


pi.  XLl 


p.  401 


422? 

2  4i()() 

3  4220 

4  4>74 

5  4"73 

6  4200 

7  4201 

8  4289 

LXXXIll  Q  4222 

10  4399 

1 1  422 1 

12  4225 

13  4229 

14  4 1 98 

1 5  4226 

16  4153 

17  42 1 o 

18  4 1 94 

19  4167 

LXXXIV  2  4241 

4  o 

6  42  54 

I o  4089 

20  4084 
22  4093 
29  4224 

36  4291 

37  4252 

38  o 

LXXXV   1-2  o 


pi  XLII4     LXXX\-1  I     930 

3  20 

5  3     N.Y 

2  40 

pi.  XLl  11   LXXXVII    1-3  939  ff. 

6-7-8 

p.  402  ( I  o)  LX  X  XV  111  I     793 

p.  402(11)  2     931 


En.dish 
Kdilion 

P  4<'2 
p  402 
p.  404 


404 
404 
405 
405 
403 
403 


P  403 


406 
406 
406 
406 
408 
408 

408 
408 
410 
411 
411 


12)  LXXXVII  I   3 
>^)  4 

■4)  3 


German       Ildbk. 
Kdition    Numbers 

St.  Ger 
1728 


■  3) 
16) 

■7) 
18) 

>9) 
20) 

21) 

22) 

23) 
24) 
25) 

26) 

27) 
28) 

29) 

30) 
31) 
32) 


LXXXIX  1 
2 
3 
4 
5 
6 

7 

XC  I 

2 
3 
4 
5 
6 

XCl  I 
2 
3 
4 
5 


pi.  XLIV     (34)    XCll    I 
(33  a-b)  2-3 


pi.  XLV     (35)  XCl  11    1 

(36)  2 

(37)  3 

pi.  XLVI  (38)  XCIV  I 

(39)  2 

pl.  XLVI  I  (40)  XCV  1 

(41)  2 


pl.  XLVllI 


XCVl  I 
2 
3 
4 
5 
6 


765 
678 

794 
677 
956 


7' 
55 
198 
229 

94 

283 

o 

1736 

1729 

759 

513 

682 
723 
761 

757 
739  a 

54" 
1726 

1869 

'395 
1839 
1873 
1396 
i87( 


CYPRIOTE    INSCRIPTIONS 
Plates  1-8  (Lnglish  edition)=Taf.  XCV11-C1\'  (German  edition). 


\o. 

Hdbk. 

No. 

Hdbk. 

l\0. 

Hdbk. 

No. 

Hdbk. 

I 

1869 

6 

1873 

I  1 

0 

16 

1898 

2 

1871 

7 

1 862 

12 

1 890 

17 

0 

3 

1843 

8 

1874 

13 

1865 

18 

1882 

4 

1873 

9 

1 88(i 

14 

1888 

'9 

1863 

5 

1889 

10 

1887 

>5 

1 806 

20 

1861 

574 


TABLES    OF    REFERENCE 


No. 

Hdbk 

21 

1870 

22 

1886 

23 

1859 

24 

1868 

25 

1 89 1 

26 

1872 

27 

1864 

28 

1867 

29 

1877 

30 

1895 

31 

1896 

No. 

Hdbk. 

32 

1894 

33 

■  853 

34 

i860 

35 

1854 

36 

.878 

37 

1857 

38 

1884 

39 

188  I 

40 

1893 

4> 

1879 

42 

1846 

No. 

Hdbk. 

43 

1845 

44 

1838 

45 

1837 

46 

1831 

47 

1833 

48 

1836 

49 

1833 

50 

1839 

51 

1832 

52 

1841 

53 

1834 

Vo. 

Hdbk 

54 

1840 

55 

4291 

56 

1855 

57 

1842 

58 

1852 

59 

1831 

60 

0 

61 

1893 

62 

1876 

No. 
I 
2 

3 
4 

5 
6 

7 
8 

9 
10 


PHOENICIAN    INSCRIPTIONS 
Plates  9-12  (English  edition)=raf.  cv-cviii  (German  edition). 
Hdbk.  No.  Hdbk. 

1804  II  1803 

1801 
1806 
1802 
1822 
182  I 
1826 
1827 

775 
1811 


12 

1812 

13 

1808 

14 

1803 

15 

1814 

16 

1815 

17 

1825 

18 

1818 

'9 

1819 

20 

1817 

'0. 

Hdbk. 

21 

1813 

N.B  Some  of 

22 

1824 

these  identifica- 

23 

1816 

tions  are  doubt- 

24 

[.830] 

ful,  because  the 

25 

1823 

sketches  are  in- 

26 

479 

accurate. 

27 

1540 

1807, 1809,  1810 

28 

1829 

are  not  in  Ces- 

29 

(r)i828 

nola's  Cyprus. 

30 

1813 

GREEK    INSCRIPTIONS 
[47-98  are  mere  names,  omitted  for  space.] 


No. 

Hdbk. 

No. 

Hdbk. 

No. 

Hdbk. 

No. 

Hdbk. 

3 

1912 

19 

.897 

37 

19  to 

44 

1905 

8 

1913 

20 

1916 

3« 

I9I9 

45 

1923 

9 

1901 

21 

1920 

39 

■95" 

46 

1906 

1 1 

1903 

22 

1902 

40 

1950 

99 

1929 

12 

1909 

23 

1907 

41 

1927 

100 

1940 

■4 

1 926 

33 

1904 

42 

938 

101 

1946 

18 

1919 

34 

1928 

43 

959 

DOELL.     DIE  SAM M LUNG  CESNOLA. 

Ihc  Roman  numerals  I,  II,  111  denote  the  Plates;  .Arabic 
ln\entory;   these  are  given  within  brackets  on  Doell's  Plates. 
The  heads  of  the  statues  marked  \'l  1 1  in  Plate  1  are  repeated 


Plali 


Doell 


Hdbk. 


1  (viii)  1084 

2  1355 
6           7"<*4 

21  1295 

28  12Cj2 

29(viii)  \y-,2 
43  ^i^^ 


DocU 
II  39 
52 
54 
58 
49 
11  Oi 
62 


Hdbk. 
I2(j() 
12O4 

I02.( 

1  ()(>() 
I  5O1 

1339 


DirII 
11    97 


7^ 

70 


Iblbk 

1236 
104s 

i"44 
lo.(  I 

1040,, 

I  "47 

1  o(j2 


III 

1\' 


7'' 

So 

0! 

')7 
105 

I  I  ', 

145 


a  Is  the 

\  III. 
Hdbk. 
10(11 
4"7 

'70 


573 


APPENDIX 

Dooll      1 

(Ihk. 

Docll       1 

(Ihk. 

Docll 

II(il)k. 

Doell 

Hdl.k. 

l\   152 

1C)I 

IX  544 

281 

XIII  796 

1682 

X 1 V  942 

2084 

\-  Si 

408 

54(> 

2()l 

797 

1684 

930 

2008 

114 

50S 

^4') 

288 

798 

1  ()8o 

XV  875 

2042 

1 S^ 

188 

372 

280 

805 

!66i 

876 

2040 

\l  125 

4()() 

r->7 

2()() 

807 

1 580 

877 

212  I 

1  v-> 

1C)() 

-X  5  5« 

512 

808 

1692 

884 

2037 

150 

202 

351) 

3<'4 

8,3 

1670 

971 

2231 

I(k) 

258 

37' 

300 

817 

1671 

989 

2198 

172 

2W 

416 

346 

824 

1411 

990 

22<vl 

174 

22() 

4>7 

347 

823 

1410 

99' 

2199 

VI 1  17S 

560 

344 

330 

826 

1390 

994 

'474 

185 

(»l)3 

545 

319 

828 

1413 

1032 

1468 

1 87 

2g2 

546 

327 

850 

1 369 

1 070 

'454 

H)0 

409 

XI  763 

368 

XIV  857 

2002 

XVI  2172 

7' 

\^)^) 

121 

764 

869 

858 

2003 

2392 

96 

202 

1  U) 

763 

87. 

859 

2004 

2932 

617 

207 

127 

766 

870 

840 

201  1 

3220 

663 

220 

050 

767 

873 

84. 

2014 

3322 

614 

221 

02 1) 

768 

879 

830 

201  5 

3569 

784 

222 

138 

772 

396 

866 

2131 

4034 

389 

224 

146 

77  5 

395 

874 

2100 

4035 

529 

vlll  251 

282 

775 

865 

934 

2097 

4037 

323 

2]5 

284 

XII  781 

398 

955 

2281 

4047 

217 

237 

237 

785 

950 

937 

2082 

4061 

793 

245 

238 

834 

367 

938 

2114 

X\ll  3671 

1726 

iX  308 

205 

835 

372 

939 

21  12 

4007 

678 

31  1 

272 

XIII  788 

'75 

940 

21  10 

330 

231 

789 

687 

941 

2113 

COLONNA-CECCALDI.  MONUMENTS 

D'HGYPrE,  Er  DE  SYRIE. 


c.  c. 

Hdbk. 

Page  84 

1228-9 

PI 

"   84 

1230 

"   129 

4616-34 

"   1 30 

4714-18 

"   '32 

r.«.  1,2. 

2082-3 

"   '3  3 

('•«.  3 

2084 

" 

tig-  4 

21 10 

'.'.       '?4 

I'g.  5 

2114 

fig.  6 

21  13 

Plate  II 

■35' 

"   111 

(head) 

'35' 
1237 

"   iV 

1363 
1352 
1407 

"   V 

1319 

c.  c. 


DE    CYPRE, 


Hdbk. 


V 

1286 

" 

1368 

VI 

1364 

VII 

4561 

VI 11 

0 

IX 

0 

X 

4554 

XI,  1 

1932 

XI,  2 

1946 

XI, 3 

■95' 

XIII 

1262 

X\l,3 

1248 

XiX 

4703 

XXXill,  20 

in  N.Y.  bu 

a  forgery 

XX IX,  29 

500 

576 


TABLES    OF    REFERENCE 


PERROT  &  CHIPIEZ 

HISTOIRE 

DE  E'.ART  D.\NS  L'AN- 

iTouirE.    in. 

PI  1  EMC  IE,  ( 

:h\pre 

The  numbering  is  the  same  in  the  1- rench 

ind  in  the  FngHsh  edition 

Fig. 

Hdbk.             Fig. 

Hdl)k.           Fig. 

Ililbk. 

Fig.          n.ibk. 

151 

141^ 

395 

2084 

502 

353  7 

37()  .A       32()8 

'52 

14.8 

396 

202  5 

304 

9^0 

57*'  15        5i07 

195 

1357 

397 

1020 

306 

941 

37{)  C       3O01   2 

217 

3552-3 

398 

1143 

307 

699 

37()  1)       3603  () 

349 

1351 

402 

I  120 

310 

757 

37(>  E       3(10^-4 

350 

1352 

403 

204  1 

513 

759 

37()  F        3^834 

352 

2127 

404 

1286 

514 

1701 

3N4           3235-8 

333 

■35^ 

407 

1  584 

519 

753 

583            5^4<'^  5 

354 

■257 

408 

M91 

321 

75' 

387                   3{>()0 

355 

1336 

411 

206  s 

525 

4^7 

390           33S3 

356 

h6i 

4'3 

1268 

329-3t 

761 

59  5            3382 

358 

n6^ 

414 

1029 

552 

4554 

595            3 '98 

359 

1266 

415-8 

1365 

555"6 

4703 

390           3558-9 

361 

14U) 

419-21 

1  364 

557 

4915 

399            328c    1 

364 

I  ^08 

427 

4'3"i 

5  59 

43M8-90 

600            3  598 

370 

1020-31 

439 

4105 

360 

4386 

601             3301 

371 

1236 

440 

4164 

361 

4384 

602             3002 

377 

1124 

448 

4146 

362 

3598 

(m)3            4181 

383 

21  30 

479 

775 

565 

3001 

621)            3013 

385 

12()2 

482 

4501 

364 

477' 

050            49('5-4 

387 

1^)8 

483 

■573 

369 

3  1 49 

O32            4739  7 

388 

I2C)2 

485 

()() 

370 

3  3''9-73 

'MO                0 

389 

i()C)8 

486 

28? 

571-2 

3374-^ 

ch.ix.enti    720 

394 

2082 

496 

7('5 

^7^ 

3  3<)7-'^ 

chx.enJ  3}(-7  8 

N.  15.  hgs,  313,  316,  317,  318,  320.  322,  are  not  in   New  \'ork.      l-ij 
is  wrongl\'  ascribed  to(>esnola,  Cyprus,  p.  312;  it  is  not  in  New  \ink. 


577 


GENERAL  INDEX  OF  PERSONS,  PLACES, 
AND  SUBJECIS 

For  the  principal  subdivisions  and  classes  of  objects  in  the  Collection, 
see  the  Table  of  Contents  at  the  beginning  of  this  Handbook. 

Note  that  inscribed  objects  are  discussed  in  the  Appendix  of  Inscrip- 
tions, as  well  as  in  their  places  in  the  bod\'  of  the  Handbook. 

The  numbers  in  this  Index  are  those  of  the  pages  of  this  Handb(jok. 

The  following  abbreviations  are  used: 

repr.    (=represen  rations  of  an  object  in  some  other  work  of  art  J; 

inscr.   (=mentioned  in  an  inscription); 

cf.        (^compare); 

if.         (^following  pages). 

Latin,  Greek,  or  Oriental  words,  other  than  proper  names  and  recognized 
archaeological  terms,  are  printed  in  italic  type:  and  all  words  used  in  a  spec- 
ial, technical,  or  colloquial  sense  are  placed  within  quotation  marks. 

.-\bd-elim,   302.  Alexander,    portrait     head     of.    211 

.\chna,    130,    180.  elfects    of    hi>    concjiiests,     127 

.Acorn-pendant,    591.  138,    185,  40(). 

.Adze,   in   sculpture,    130,  472.  Alexandrian  citizen  in  (^Npriis,    ;iS, 

.Aegean   art;    sec   .\linoan.  Altar,      im,      ^14;    mini.Hure.      177. 

.Aeschylus    on    Cypriote    sculpture,  27(),   ',0"^  0;   .Mweii.iean  linrned 

1 36,    lOo.  type.   27(). 

.Agalmatolite,   270.  Aniargelli,       177,       ^21;    s.iik  1  ii.irv . 

.Agate,  389-91,414-15,418-19,449;  127. 

sec  Scarab.  Amasis,    king    of    I  g\pt.    C(.iu|ii<ts 

",Agia    Katarina";    see   "St.    Cath-  C\pru^,    \\x\ii,     \ ',.\;    pi'nr.ni 

arine's  Prison."  st.iuie,   22(>. 

Al.diaster,     265,     271,      274,      305;  Ani.ilhu^,    \x\ix.    Os.    02.    I'M.    '''■ 

"alabastron."     275,     507:    imi-  iiS.     117    1^.    -7-t-     l''^^    '"i"^. 

tating    potterw     37,    275.    277;  240;    imnhs,   ijn,   22.^. 

imitated     in     polterw     So,     in  .Am.i/nii.    1  ^s 

limestone,  2^0,   in  cr\stal,    j'j.j,  .Ameihvsi,  .jdo.  .(24 

in  glass,  ,07,  .\mphide\iii',,     cpiihei     lA      Ap^ll". 

Alasia,   xxx,   xxxi\.  127,   171. 

57') 


gf.ne:ral  index 


Amphora,  carried  bv  \otaries,  ?((); 
inscrihoii,  S24;  other  represen- 
tations. 505.  ?  1  ?.  ?2(>.  M^  ■ 
stamped  Khodian,  525;  Ion- 
ian Fabric,  2()o;  Samian,  2t)2; 
C^\priole      "  Krater-amphora," 

Amulets.  154,  185,  187,41)9;  I-g\p- 
tian,  426,  450-2;  Alithraic, 
42();    Sassanian,  453. 

Anibeh,   42. 

Animals,  repr.  of,  go,  Q4,  100,  107, 
233,  2c)2,  440,  443,  444,  446, 
432;  sacrificial,  128.  Sec  aho 
Bat,  Bird,  Boar,  Bull,  Dog, 
Do\e,   etc. 

.■\nimal-headed  and  animal-shaped 
\ases,  27,  28,  31,  67,  6c),  92, 
1  17,  120;  as  children's  to\'s,69. 

A)ikh-s\gn,  407,  412,  41 3,  418. 

.Annular-bodied  vases,  28,  38,  107, 
IOC). 

".Annunciation  Chapel"  at  Lar- 
naca,  6. 

.•\ntiphatos,  310. 

.\nubis,  432. 

.Ape,  repr.  of,  463. 

.\phrodite,  244,  398;  bearded,  213; 
late  types,  213;  at  Idalion, 
331;  at  Raphes,  304;  on  coins 
of  Salamis,  257;  .\lykerodis, 
320;  Pandemos,  270;  emblems 
of,    187. 

.\  polio,  126,  138,  162,  168,  172,  189; 
.\mphide.\ios,  127,  171;  .Amy- 
klos,  127;  H>lates,  "of  the 
Woodland,"  123-7.  3^3,  320; 
"of  wealth,"  320;  Lakeutes, 
521;  at  Kurion,  126,  177;  at 
P\la,  127,  321;  late  Greek 
t\'pes,  191;  Sphinx  as  emblem, 
I2(),  128. 

.Apple,  held  by  \otaries,  185,  191, 
214.^ 

.\pplique  work  in  Cypriote  em- 
broidery,   133. 

.Apries,   king  of  tgypt,  xxx\ii. 

.Apron,   .«i'   Kilt. 

.Apulia,   pottery  of,  66. 

.Arba-lstar,   430. 

.Arcadia,   xxxi\'. 

.Archaic  st\le,  C>priote,  xxx\iii; 
.Athenian,  22  1  ;  "archaic  smile," 
208. 

Archaism,  213. 

.Archer,  repr.  of,  1 38,  246,  464. 

.Archieros,    324. 


.Arcs,  424. 

.Arion,    172. 

.Aristo(gonos),   306. 

.Aristokretes    307. 

.Aristous,   321. 

.Armour,  344-3,487;  armour-bearer, 
347.  Si-f  also  Helmet,  Shield, 
Spear,   Sword. 

Arms  of  statue  made  in  separate 
pieces,  216. 

Arrangement  of  the  Cesnola  Col- 
lection, xxii. 

Arrows,  173,  174,  222,  343;  arrow- 
heads, 488,  490;  arrow-head 
ornament,  91,  96,  97,  99,  100, 
250,  286. 

Arsinoe   111,   319. 

Artaxerxes   III,  xl. 

Artemidoros,   323. 

Artemis,  126,  129,  138,  191,  493; 
Paralia,  321;    of  Ephesus,i26. 

Aryballos,  Oriental,  291:  Rhodian 
(Kamiros),  291 ;  fantastic,  292; 
ram-shaped,  292;  monkey- 
shaped,  342. 

Ashmolean  Museum,  102;  speci- 
mens from  Kition,  448. 

Ashtoreth;   see  .Astarte. 

Asi,   XXX. 

Askalon,    123. 

Asklepios,    126,    177. 

Askoid   vases,    16,  23,    118. 

Ass.   repr.  of,  343. 

Assyria,  influence  of,  xxxiii,  87,  133; 
conquest  of  Hgypt,  xxx\i; 
human-headed  bull,  148. 

Astarte  (.Ashtoreth,  Ishtar),  336, 
398,  434;  "sur  le  paxois," 
197;    nude  figures  of,  244. 

Athena,  177,  424,  499. 

Athenos,  324. 

Athens,  influence  of,  in  C\'prus, 
xxxix,  xl,  137,  138;  Oriental 
bronze  bowl  from,  438;  Nat- 
ional Museum,  31. 

Athienu,    123. 

Athlete,  280,  499. 

Atlas,  repr.  of,   386. 

Atlas  of  the  Cesnola  Collection,  xix, 

.  5,3'- 
Atticism,    137. 

Attributes  held  by  votaries,  128,  182. 
Augustus,  portrait-type,  212. 
Awl,  474. 
Axe,  47{),  482;   double-axe  symbol, 

286,  438,  486,  499. 
Azbaal,   xxxix. 


580 


GENERAL    INDEX 

Baal,  Baalat,  125.  S4;      hird-shapeJ     vases,     110; 

Babylonian  terracottas,  33,;    cvlin-  bird  with  three  wings,  ()0.     ,V,, 

drical      seals,      xxix,      421:) -31;  cil.<,>  i)o\e,  I'.iyle,  Hawk,  etc. 

weights,  450.  iiistouries,  4()2. 

Bacchis,  a  cook,   324,  iiit;   .ui  ikidle. 

Baetyl,    124,    127.  Black  paint;    x,c  I'aint. 

Balliard,  C,  xxiii.  I51ack-figured    vases,    103-4,   2i)>,~'-,; 

Banquet-scenes,   147,   181,  227,  240,  black  glaze  ware  1  Ikonze   Age 

241,  308,  313,  462,  464.  fabricj,  30;    (Attic  fabric;,  21)--,. 

Barenis,    324.  2C)6;    black      polished      \ariet\- 

ikisalt,   266.  of     l-abric     i,    20,     12^:     black 

Bases  of  statues,  317;   of  statuettes,  punctured    ware    ( I'abric    \iiij, 

317;   .u't'  Appendix.  42;    black  slip  ware  (  fabric  1 1 ), 

Base-ring    Ware    (Fabric    vi),    36;  22;    black   slip   ware    with    red 

white     painted,      37;    imitated  paint  (Fabric  \\),  50. 

in  alabaster,  37,  276;    influence  Blue  paint;   .vcc  Paint. 

on  other  pottery,  24.  Boar,  repr.  of,  227. 

Basket  panniers,   343.  lioat,  sacred,  "solar,"  418;    \oti\e. 

Basketry  ornament,  14,  17,72,  108,  314;   .va- Ship. 

261,  267,  271,  273.  Boeotia,  pottery  of,  (>(>. 

Bast,   Egyptian  goddess,  452.  Bone,  objects  of,  517. 

Bat,   repr.  of,    543.  Boreas,   422. 

Batsalos  site  at    Kilion,   301.  Borers,  266. 

Bay;    iii'    Laurel.  Bottles,    of   gourd.    1?;   of   cr\'stal. 

Beads,      including      pendant-beads,  3()4,  4C)6;   on  earring,  402. 

270-72,  376,  378,  381,  386,  387,  P)Oundary-stone,     inscribed,     518. 

3go,    392,    3tj4,    3o(j,    3()9,    401,  Bow,    1^8,  22  ^  247;    bow-case,   I7^ 

446,  431,  452;    Fg\'ptian,   xxix.  Bowls,  of  bronze,  496;    of  gold,  438; 

272,   390;    Minoan,    378;   glass,  g(jld-plated,  431);   of  siUer,  438; 

402,  304,  314.  from    .Assyria,   493;    from  I'rae- 

[jeards,  repr.  of,  136,  141,  132,  136,  neste,    463;   of    stone,     ^(h);   (if 

174,    196,    201,    203,    204,    210,  green  glaze,  120;  of  clay  (Ionic). 

213-18,    224,  243,   33g;  .-Xssyr-  2(^4. 

ian,    133;    rendered   by   "fealh-  lioxers,  repr.  of.  21)4- 

ering,"  237;    bv  red  paint,   137,  l)OX-Iid,   271. 

203,    204,    2:0;    without    mous-  Ijov's   head   in   sculpture,   2()0. 

tache,     222,      223;    Hellenistic,  liracelel.  <if  bronze.  4()5 ;    cloisonne. 

'75>    179.   i<)<>-  'i^'t',   glass,  si^;   goLI.  {8s.  ',1)5 

Beetle,  sacred.  41 3,  44O;    .scc  Scarab.  gold-plated,     lion-headed.     107 

Bells,   of   bronze,   4(){;    of  clay,   (ji,  with    hook-and-e\e   c:ilch.    >,()() 

92,  29G,   340;    of  gold.    {8().  sil\er,     >,-■,',.     ',-■,'->:    with    sliding 

Iierlin     .Museum,   siher    bowl,    437;  calch,     <()i);    spiral,     iss.     -!io. 

tomb  grrjups.    ■(  1 .  22s. 

Berries,   repr.   in   wreaths,  208,  210.  lireast.     prominent      modelling     ot. 

I'eryl,   599,  40().  41  I.  424;    imitated,  lOi,      21s:    as      ornameni      on 

424.  \ases,      22:      s\niboliL      ch.irni, 

Bes,   l\gyptian  deit\-.    133,  2^.    V17.  4')',. 

446,      432;      compared         with  1' re;ist-pl;i  tc.     ;S2. 

Herakles,    172.  liridle,      100,      ;.}.i.      ',(10;    horsr-hii, 

l)ini.ling-ornament,   ',7,   v8,  ()>,.  .(X,s, 

I'irtis,    repr.    of,    90  02.    <)4,    >)<>.  07,  I'.ritish      .\lusiiim,     r\.  .i\  .1 1  ions     m 

105.  108,  12S,  193,  |S',,  1S7.  ii,i,  (Aprils.   .(S,    jSs:    ..b|tsis   Ironi 

229,  2()i    2.    -(32.   >,>><>.  402,  .)i4  Ani.illiiis,    2',;.    Irom     I  nkomi 

i(),   438   9.   441    4.   4--,X.   .(Ot:    as  272.       troni       (  Jrnii.llii.i .       i;m, 

attribute.  243.  as  s.urilice,   128;  coins.   171,   1  "^  1  .    s.iilpnMr.   lo,. 

I'.gvptian.  496;    birds  e\e  orii.i-  terr.uol  l.is,      jm.,       ;',o,    \,is,s. 

nient,   9^   4,    loO;    "bird-jugs,"  ji,    oilur   objects,    .wii 


GENERAL    INDEX 


Ikonze  Ago  in  C\'prus,  6. 

lirorizc  objects,  471-300;  imitated 
in  pollen',  61,  493;  in  sculp- 
ture, 2  ^0. 

l^rooches;    .vc  I'ihulae. 

l5ucchero  ware,  Cvpriote  hand- 
made, 43;  wheelmade,  33; 
htruscan,  43,  33:  gre\-  wares 
akin  to.  Oo;  painted,  36;  red, 
103;  imitated,  53;  prototj'pes 
of,   34. 

Ruckles,  403. 

"ButT-siip"  variety  of  red  pottery 
(Fabric  xvii),  i  10. 

BiigclkiiiDiiH,  49,  31-2,68. 

Buhen,  42. 

Bull,  repr.  of,  28,  37,  38,  44,  70,  109, 
114,  227.  236,  2bi,  273,  333, 
342, 391-2, 433-4. 430,  438,  439, 
440-41.  444,  446,  447,  448, 
438,  4S8;  .AssN'rian  human- 
headed,  147;  bull  and  lion 
combat,  236. 

Burial  customs  of  ancient  Cyprus,  5. 

Buttons,  484,  493. 

Butt-spikes,    bronze,    482. 

By  bios,    123-6. 

Cable-ornament  (cable-coil:  guil- 
loche),  82-3,  87,  102,  237,  289, 
383,  407,  412,  413,  419,  422, 
4?4,  444,  462. 

Cacus,  205;   5ft'  Geryon. 

Caere,  438. 

Cameo,  glass,  424-3. 

Cap,  Assyrian,  461;  Hittite,  419, 
446;  horned,  433,  499;  Per- 
sian, 189;  Phrygian,  129,  187, 
2()i ;  pointed,  1 34,  161,  163, 
2()i,  338-9,  412,  443;  worn 
by  a  horse,  343;  with  lapels, 
332;  with  nose  guard.  343; 
flat  cap  worn  b\'  \otaries,  183, 
187.     .S',-,-  alio   Helmets. 

Capital,  Corinthian,  237,  399; 
C\priote  with  volutes,  237-8, 
240,  278;  pap\riform,  432; 
square  debased,  2^8. 

Carbonyl  in  black  pottery,  20. 

Carbuncle,    384.   42^,   424. 

Carchemish,   xxxiii. 

Carnelian,   384,   ^90,  413,  420,  422, 

424-5.   44''^-^)- 

Carthage,  "1  empleboys"  from,  188. 

Cartouche,  4n :  illegible.  461  ;  imi- 
tated,  8^ 


Cattle;   see   Bull. 

Cauldron,  496. 

Casalry,  repr.  of,  343.  See  also 
Horseman. 

Celts  (flat  copper),  472. 

Centaur,  341,  423. 

Cesnola  Collection,  Atlas  of,  xix; 
Handbook  of,  xix;  present  ar- 
rangement of,  xxii;  repairs  of, 
xxiii;    "students'   series,"   xxiv. 

Cesnola,  General  Luigi  P.  di, 
xiii. 

Cesnola,  .Major  .Alexander  P.  di, 
xviii. 

Chain-ornament,  23. 

Chair,  repr.  of,  337,  333. 

Chalcedony,  412,  418-19,  425,  443, 
449.  450. 

Chamber-tombs,  6. 

Characters;   i.v  Script. 

Chariots,  repr.  of,  48,  228,  343, 
4O2-3;  two-horsed,  143;  four- 
horsed,  143,  227,  343;  with 
winged  horses,  312;  chariot- 
races,  320,  367;  chariot-wheel, 
71,  146. 

Charm;   stc  .Amulet  . 

Chequer-ornament,  76,  79,  83,  94. 

Chest,  wooden,  228;  stone,  278, 
309,  310,  348. 

Child,  repr.  ot,  240,  340;  head,  214, 
2O0;  \otive,  128,  336;  child's 
rattle,  43,   120;   other  toys,  69. 

Chimera,  236. 

Chisel,  bronze,  482;  in  sculpture, 
130,  474. 

Chiton,  Doric,  136,  190,  191,  216, 
244.    ^33;    Ionic,    130,    13O;    of 


ot 
See 


3'3- 


punched,        17: 
concentric  circlej; 
tangent,    237,    286, 


Carts,  21,  34O,  4O2.     See  also  Wheel. 


C\'priote     women,      167 

crinkled    material,    1O4. 

also  Tunic. 
Chorus,  dancing 
Chr\-saor,  227. 
Cilicia,    139. 
Circle-ornament, 

painted   {see 

circle    and 

288,  29^. 
Cla\';    see   Terracotta. 
Clazomenae,    influence  on  C\priote 

painting,   22O. 
Clermont-Ganneau,   J.,   46^ 
Cloak    [hlmatioii),     156,     1 31),     1O7; 

fringed,     142,    218,     ^32;    worn 

shawl-fashion,  161,  l^)^.  1O4 
Cloisonne  work,  401,  402,  408-9. 
Coarse  W  hite  Ware  (Fabric  ixj,  43. 


582 


GENHRAL    INDEX 

Cock,  repr.  of,  187,  226-7,  295,  367,  Crown,    Fg\-ptian,     155,    225.    415, 

4<)5-  4()^:   mural,  2^7, 

Coft'ms;   sec  Sarcophagi.  Cr>stal.  ohjocts  of,    390,    394,   422, 

Coins,    of    Amathus,    240,    Idalion.  A^^-i). 

248,     Kition,     172,     234,     422,  Cults;    .<<■<•   Sanctuaries. 

Tarsus,      171,      Salamis,      398;  Cups,     purchase    of     (inscr.)     3i(); 

gold    foil    impressions   of,    398.  cup-hearer,  227,  347.  4()4. 

Collar;   sec  Necklace.  Cupid;    .uc  h.ros. 

Colonization    of    Cyprus,    Hellenic,  C\hele,    ^sO. 

xxxi\';    Minoan,  xxx,  322,  374.  Cylinders,     liahylonian,     37S,    420, 

Colonna-Ceccaldi,  G.,  xiw  450;    (^vpro-Alycenaean,     4<(), 

Colossal   statue,    331.  4'S8;  getjinetrical,  45(;,  440;  i  lit- 

O)lour;    see    Paint.  tile,  455. 

Column,     184    {see    Capital);   sym-  Cymhals,  493,  498. 

holic    with     rays,    437,    438-9,  Cyprian   Epic  (ta  Kypiui),  xxxv. 

449,  450.  Cypriote  bucchero,  4^,   ^^4;   deities, 

Coh'in,  Sir  S.,  x\'iii.  125;   dialect,   xxxi\ ;    kilt    tloin- 

Composite  vases,    16.  cloth),    1^2,    15^. 

Concentric-circle  ornament,    18,  66,  Cypro-.Mycenaean   art,   ()2;  potters', 

7S,    79,    80,    91,    102,    108,    III,  45,     31,     107;    religious    beliefs, 

113,    268,    286,    289,    446;    re-  125;    sur\i\als,  (>(>. 

placed     by    continuous    spiral,  C)-prus,  climate  and   vegetation  of, 

88;   concentric  tangent  ("ques-  xx\ii;    coins,     xxx\ii;     copper, 

tion-mark"  ornament),  80,  257;  xx\ii;       history     and     culture, 

on  stamps  for  hair,  261.  xx\i;    kings  of,  xxx\  ;    ph\sical 

Constantinople,    Imperial    .Museum,  features,         xx\i;        seapower, 

31.  xxxi\',     290;         timber,     x\\ii; 

Contaminated  fabrics  of  pottery,  30.  tombs,  5;    under  I'ersi.i,  xxxvu; 

Control-plates     and     control-beads  under     Ptolemaic     l-.g\pt,     xl, 

from  necklaces,  208,   387,   390,  M9;    under  Rome,  xli. 

391,  432.  Cvprus    .Museum,    7,    31,    118,    144, 

Cook,  (darence,  xx.  280. 

Copper,  xxix,  471.  C\rene,   xxxxiii,    181. 
Cornice,    lion-headed,    241;   on    rim 

of  \  ase,  76.  D.\i)i  s,  63. 

Costume,    93,     174,    221,    258,    243,  Daggers,   471,   473;     dagger-shaped 

484;    Bronze  .Age,   333;    C\pn)-  pin,  221,  441. 

Al\cenaean,  1 32;  Cypriote  belt,  Daisies,   repr.  of,    13(1,    |S;. 

134;    woman's  jacket  and  skirt,  Danct',  4O3;    d.incers.   m.isked.    1  so, 

339;    .\ss\rian    woman's    dress,  ^40;     ilancing-girl,      12<),     n.\, 

197,     Hittite,      194,     Phr\gian,  l.gvjuian,  274. 

2 14;  CerenKjnial  dress,  121).     ,Si,-  Daophas,    ^08. 

C^ap,  Cloak,  Kilt,  \  est,    funic.  D;irius,  king  of  Persia,  \xx\ii. 

Counters,  272,   ^16.  Dark-coloured     \iy\\    Ware    (  labric 

(^o\s    and   calf,   419;    cow's  head  on  x\ii),    104,    11;. 

bowl,  4(K)-i;    see  Ikill.  Decadent   (^Ni'rioie  si\le,    1  ^S,    iS,j, 

Oab,  repr.  of,  426,  441.  i3'' 

Oane,  repr.  (jf,  420.  1  )ecor.i  I  i\  e  ;i ri  :    \, ,  <  )tii,i meiii . 

Oescenl-ornameiit,    2()2,    4.}',,    4^7,  DeLVee    r.-gul.iling   s.unti.e   Miis^r.'), 

400:    upturned.  44',,  4.44:    with  ',10. 

disL.   241,   247,   230    I,    ',40-  /),,/-s!L',ii   as  .iniulrl,   .)si    2. 

Oete;    see     .Minoan     ci\  ili/a  lion.  De(li..iiion:    ni.ilr    Uvawv    .1'    Iriii.d. 

Crocodile,   rejir.  of,  420.  s,in.  1  u,i  rv.    ■,'■,! 

(.romleJis  in  C\prus,  9,  Drer,    rrpr    ol.    j;;.    j^>o.    .||,,    |^s. 

Cross-ornament,  1)."^,  4  io.  ■))  I  ;  "m.d-  .!''■;    s,   .i"--/ .    dor  .md    VxA.   ..■•o 

tese    cr(jss,"    70,79,   8«,   i;l,    lo.S,  l.iv.n,     i(,i,    sl.i;'.    ijl,    ,|.;  I  .     i|;, 

292.  44'',    44'i- 


GENERAL    INDEX 

Deities,     ape-headed,     41?:    hawk-  I'ar,  \otive,  280;    inscribed,  316. 
headed,    412.    41  ^    4^-2:    .itiri-  liar-picks,  492,  518. 
hutes  of,  ?i2:    Cypriote,  12,-7,  luir-rings,  lUonze  Age,  374;   Minoan 
Hittite,    4^5;    figures   of,    3O7:  types,    376;     Kariy    iron    .A.ge, 
seated,  180, 4n;  female  180,  u)i,  379-80;      Homeric,    380,     384; 
247,  ^10,  ^34,  356;  Si-c  Mother  Oriental  types,  382-5;  Hellenic, 
Goddess.      Si-c   dho  Gods    and  388;  Hellenistic,  391-2;  Graeco- 
names  of  individual  deities.  Roman,   395;     Byzantine,  401; 
l')e  .Mas  Latrie,  Comte   xv.  Italian,    389,    391;      Egyptian, 
Demeter,   126,   129,   138,  337.  431;    animal-headed,  378,  391; 
Demetris,   322.  boat-shaped,  376,  379,  380,  384, 
Demetrius,   324.  383;    cloisonne,    384;    crescent- 
Demon,  goat-headed,  430.  shaped,  401;  delta-shaped,  400 
Demonax,  xl.  -i;     hook-shaped,     393,     401; 
De  Ridder,  .\.,  130,  188,  221.  spiral,  376,  385;  from  Amathus, 
Derketo,    125.  388;      from        Fharros,        387; 
Diaithemis,    317;    (Diithemis,   314).  metallic  ear-rings  on  terracottas 
Diana;    uc    .Artemis.  and   vases,    101,    260;    repr.   in 
Diandros,   303.  clay,    236,    239;   in     sculpture, 
Dice-box,  496.  142,  130,  133,  167,  208. 
Didyme,  324.  Early  Iron  .A.ge,  xxxi,  253;    pottery 
Diithemis,   314.  of,  34;   iron  and  bronze  objects, 
Dionysiac  scenes,    on  \ases,  294-3.  482-8. 
Dionysios,   319.  Ebed-adoni,  302. 
Dionysos,   189,  ^03,  423,  424.  Ebed-melqart,  108,  302. 
Diorite,  objects  of,  266.  Egg-and-dart    ornament,    iio,    237, 
Dipping-rod,  492,  306,  313.  241,248. 

Dipylon  vases,  288.  tgypt,   first   contact   with   Cyprus, 
Disc,    solar,    406;    rayed,    418,    438,  xxx;     Twelfth    Dynasty,    272; 
440-1,  445,  446,  448;   winged.  Eighteenth  and  Nineteenth  Dy- 
242,    248,    409,    418-19,    426,  nasties,  273;    Nubian  conquest 
437;   with    crescent,    418,    432;  of,  xxx\i;  .Assyrian  conquest  of, 
athlete's  quoit,  ^  16.  xxxiii;    Twenty-sixth  Dynasty, 
Disc-ornament,  76,224,436-9,441,  xxx\i,     273,     461;      seapower, 
443,  446.  xxxvi,  xli;    under  Persian  rule, 
Dish-co\er,  496.  xxx\ii;     under   Ptolemaic   rule, 
Doell,  J.,  x\  ii.  275;  costume,  134;  beads,  xxix; 
Dog,  repr.  of,  2^4,  279,  308,  422,  423.  fabrics   of   pottery,    41;     head- 
Dolphin,  repr.  of,  3 10,  367,  391,  399,  dress,    340;    hieroglyphics    imi- 
402.  tated,  83-4;  influence  on  Cyp- 
Dotted  ornament,  22,  271,  300.  riote   sculpture,    134,    132,  237; 
Do\e,  repr.  of,  182,  183,  184,  186-7,  stvie  imitated  in  Cyprus,    133; 
216;    sacred,  123;    \oti\e,  182.  roj'al    hawk  and    Nultures,   90, 
Draught-piece,  272.  448;  torch-holders  from,  104. 
Dress;    sei-  Costume.  Electrum,  objects  of,  412,  418. 
Drill,  used  in  sculpture,  130,  in  gem  Embroidery,  repr.  of,  135,  163. 

cutting,   19,  437,  439;    tubular.  Enamel,    384,    383,    386,    387,    388, 

440.  406,    420,    487;    stc    Cloisonne, 

Drimokia,  318,  323.  Paste. 

Drink-offering,  465.  Enkomi,  42,  48,   132,  336. 

Dryads,    123.  Epbcboi,  319. 

Dwarf,  repr.  of,  132.  Epioroes,  439. 

Eros,  243,  260,   326,  367,  396,   300, 

E.\GLK,  repr.  of,    183,  235,  293;    in  510,    518;     with    Psyche,    3O2; 

bronze,  487;    attribute  of  Zeus  holding  swan,  362;   on  dolphin, 

on    lamp,    367,    446;     "spread  172,423;   riding  goat,  362;  with 

eagle"  s_\-mbol,  434,  438,  441.  apple,  362;  with  dog,  362;  with 

584 


GENERAL    INDEX 

winged     head,     ^62;      Eros    as  "  l-'ire  Altar"  dosij^n,  44<). 

proper  name,    ii.S.  Fire-stained  'surface,    142.   200,2^7. 

Er>'tlirai,  Herakles  cult.  171.  I'ish,  repr.  of,  i)()--j.   1  iS,  4^,s.  ^41, 
Eshmun-melqart,  123,  126,  ^01,302.  444,   44(),  41;^;  tl\inL',,  4;():tish- 

Eteandros,  king  of  Paphos,  502.  pond,     126;     lish-shaped     \ase, 

Europa  and  bull,  repr.  of,  367.  42-5. 

Eurymedon  Ri\er,  battle  at,  xx.wiii,  Flasks,  7S. 

137,  163.  "  l-'lat-rininied  "  jugs.  107. 
Eurytion,  172,203,2^5,422.  "  l"leur-de-lys"  ornameni,  8(). 
E\agoras  1,  king  of  Salamis,  xxxi.x,  I'lowers,    repr.    of.   31,   11,10,    iS^, 

138,  1O3;    11  (of  Salamis),  xl.  208,    332,    ■533,   42(1,    45S.    44(1; 
E\elthon,   king  of  Salamis,  xxxviii,  spra\'s  of,   120;    wreath  of,   113. 

181.  Fl(j\\er-bearer.    142,    i()(),    lON,    4()3; 
Ever-baga,  430.  w  inged,  422. 

"  Excrescence"  ornament,  75,  74,  76,  idute,    128,    i4(),    i()4,    540;    d(juble, 

77,  83,  86,  87,  91,  ij4,  97,  99;  540.  54(),  3  3().  4O4. 

leaf-shaped,  74,  76-7.  Flute-pla\ers,    149,    i()4,    i()8,    515, 
Eyes,  treatment  in  art,  94,  191,  209;  539,  4(m- 

as  ornament,  74,  104,  1  13,  238;  Flv,  repr.  of,  5()8,  4(}().  425. 

\oti\e,  280.  l-l\'-\\  hisk,  repr.  of,  144,  \.\().  544. 

'' Eye-and-spout "  \ases,  104.  Foam-born  Cioddess  ai   I'aphos,  xli: 
Eyebrows,    treatment    in   sculpture,  see  .\phrodite. 

163;    "feathered"  tooling,   197,  Foliage,  repr.  of,  445-4,  44(1. 

198,  202,  210,  222,  224,   236-7;  Fool;    Sii-    beet. 

zigzag  tooling,  201;    low  relief,  Fool-soldiers;    .u-r  Warrior. 

223.  Footstool,  \()ti\e,  2',(>.  508. 

I-Ork,  bronze,  402. 

Faoi;,  rendered  in  profile,  94.  Franks.  Sir  .\.  W  ..  xxi. 

"  balse-necked "     \  ases     (Biififlkaii-  Fresco-painling  on   \asi-,    1  i(). 

)2tHJ,  49,  3 1~2,  68.  Friedrichs,  C,   \\ii. 

Famagusta,  modern  potteries,  119.  Fringe,  of  balls,  218,  222.  223,  2^^'. 
Family,  repr.  of,  240,  244,  346.  zigzag,  222. 

Fan,  repr.  of,  463.  Fn^g.     repr.     of,     4()();    as     amulet. 
"  Fantastic  "  \  ases,  13,  16,31-3.  480  2. 

Fasuli,  522.  Frontlet,  540,   574,  ;Sfi:  represented 
i-"awn;    iic  Deer.  in   sculpture,   152,   13s.   I'm;  r><- 

least;    si'c  Banquet-scenes.  settei.!,  221,    540. 

Feather-ornament,     <)3;      st-e     F^ye-  bruit,    repr.    of.    244;    \oli\e,     1(17, 

brows.  Moustache.  185. 

Feeding-bottles,    104,    106;     (^vpro- 

Mycenaean,       107    ;        human-  ("jahi  1 -'^ii  m'mj  seals.  .^44. 

headed,  530.  Cjadrnnn-orii.imenl  mi   inei.il   bi)\\ls. 
I'eet,    colossal,     i()6;     bronze,    from  .((17,     312;    on    huLcluro    x.ises, 

seats     or    boxes,    406;     \oti\e,  --,--,. 

280.  (iaiiiinj;-board,    .14.1. 

I'elspar,  449.  (..irneis.   ',()2.  .(oo,  .)o<),  4  1 .( 

I  esti\als,  ancient,  127,  147;  repr.  of.  (iems.     engraved.     .(2.     o''   7.      '.^o 

515;    modern,  521.  broken  .1  nd  reiomed.    ;  1  s 

1  estoons  of  flowers,  repr,  of,   1  lO.  Ceometric.d  period  ,iiid  six  !.■,  \\\in. 
l-'euardent,  O,   1...  xx.  <irnanieiils.   7',,  ."<^,    loi.   jOS 

libulae,  244,   582,  484   0.  (.er\dii   iiulh.    12^.    172.  204    ;.   j  ri 

1  igurines;      ,u','   1  erracot  tas,  di.int .  ,)(i -, 

l-ikellura   ware,   202.  Cilded  bron/e.    ','^S.    ',0;:    >!-iv.  ,;o2 
liligree,    580    1,    ',85,    58.),    V)',.    VJS.  siUer,    ',^2.    ',S;,    i^i.    ''"]■    ■'''• 

500,     408   0;      transition      from  .)io.  .|Oi,  .(O.s, 

gr.inulalion  to.   ',()(>.   11)4    3.  (iillikis.    ',o.( 

"  lilling-ornaments,"  457.  (.i!o/,mi.i.    ',0^. 


GENERAL    INDEX 


GirJlc-lio.  F,g\ptian  amulet,  451. 

Girl,  ropr.  of,  Llancing,  129,  214; 
running.  21)5;  swimming,  276; 
washing  her  hair,  422. 

Ghuliators,  repr.  of,  ^dy. 

Glass.  402,  50^-14:  manufacture 
of.  5(M.  313;  colours  of,  304, 
S08;  inillefiori,  506-7;  imitat- 
ing alabaster,  S07;  imitating 
potter\-,  yO^)■,  iridescent,  50S; 
lig\ptian,  503;  Phoenician, 
S04;   .<('<■  Paste. 

Glaze,  art  of,  303;  Hgyptian,  448; 
colours,  412,  451-3;  Cypro- 
Mycenaean  imitation,  271;  blue 
paste.  271;  black  .Attic,  289; 
late  salt  glaze,  120;   sec  Enamel. 

Glaukos  the  Samian.  487. 

Goat,  repr.  of,  95.  275,  342,  391, 
3()V,  415,  437-9,  443,  487; 
\()ti\e,  183,  487. 

God,  "of  the  wine  press,"  305;  "with 
two  right  hands,"  304;  "on  the 
bull."  434;  "Lord  of  weight," 
VM :   si\'  Deities. 

Goddesses;   see    Deities   (female). 

Gold,  \aried  colour  of,  379;  gold- 
plating    {src  CJilding). 

Golgoi  (mod.  Gorgij,  123,  130,  303, 
307. 

"Good  Shepherd  ';   see  Kriophoros. 

Gjoose.  repr.  of,  448. 

Gorgon  (Gorgoneion,  .Medusa),  173, 
183,  200,  359,  360,  391,  396, 
498. 

Gourd,    imitated    in    pottery,    12. 

Gournia.   1  5,   148. 

Graces,    125,  347,  398. 

Graeco-Phoenician  st\le,  62,  63,  102. 

Graeco-Roman  pottery,  119; 
jewelry,  39S;  sculpture,   138-9. 

Granulation,  378-81,  ^84,  389,  395, 
401,  408,  416;  transition  to 
filigree,  31)0,  3()4, 

Grapes,  repr.  of,  452. 

Grasshopper,  repr.  of,  386. 

Grassi  .Museum,  Leipzig  (tomb 
group),  65. 

"Great  .Mother";  sec  .Mother- 
Goddess. 

Greek  colonization,  \\\iii-i\  ;  in- 
fluence in  Cyprus.  \xx\  ii-\iii, 
155-8;  imp(jrted  \  ases,  285 
tr.;  inscriptions,  518;  t\'pe  of 
lyre,  184,  of  palmette,  110,  of 
lion,  239  ff. 

Green  glaze,   120;     paint,   145,    148. 


Grey    fabrics    of    pottery,    60;    sec 

i5ucchero. 
GrilTm,  .Minoan,  292,  435;   Oriental, 

215,  415,  459;   combat  of  man 

and  gritlin,  388,  448. 
Grmders  for  paint,  267. 
(jroom,  repr.  of,   144,  344. 
Gr\llos,  on  gem,  425. 
Guilloche;   see   Cable-ornament. 
Guitar,   Hg\-ptian,  274. 
G\psum;   see  .-Mabaster. 

H.\DES  ..\ND  Persephone,  419. 

Haematite  objects,  440,  443,  449, 
450;   nodules  of,  450. 

Hair,  treatment  of,  141,  162,  164, 
166,  174,  194,  203,  208-9,  215, 
217,  221;  parting,  213;  long 
tresses  behind,  161,  169,  219, 
346,  in  front,  197,  235,  244, 
318;  peculiar  Hittite  coil, 
436-7;  rendered  in  clay  by 
stamps,  256,  259,  260,  349,  by 
paint,  261;  in  sculpture,  136; 
by  rough  tooling,  220,  by 
"feathering,"  95;  on  coins,  209. 
See  also  Eyebrows,  Beard, 
Moustache. 

Hall,   Dr.   I.   H.,  xix. 

Halos,  288,  402. 

Hammer-gods,    171. 

Hanan-baal,   302. 

Hand,  238;  \oti\-e,  280;  on  \ase, 
98;  drilled  to  hold  spear,  207; 
modelling  of,  350;  open-hand 
symbol,  438. 

Handbook  of  Cesnold  Collection, 
xix. 

Handle,  iii;  of  awl  (deer's  horn), 
474;  of  knife  (bronze)  487; 
of  ladle,  309;  of  mirror  (blue 
glaze),  455;  of  bronze  \ases, 
476;  imitated  in  cla\',  61; 
characteristic  horned  t\'pe.  12, 
56;  ring  handle,  236;  animal- 
shaped.  47:  multiple,  1 1  I ;  with 
trans\erse  bar,  71. 

"Handle-ridge"  jugs,  59,  80,  119, 
467;  in  alabaster,  276;  in  bronze, 
467. 

Hare,  repr.  of,  433;   as  amulet,  452. 

Harness,  343;  .AssxTian,  144; 
painted  green,  145.  i't-c  I'ridle, 
Saddle. 

Harp,  triangular  Oriental,  199, 
464;    harp-players,      199,     463. 

Harpokrates,  188,  362. 


586 


GENERAL    INDEX 

Harpy,   170,247,407.  Hermes,  17S;   theft  of  Apollo's  cowr. 

Hasp  of  lock,  497.  2o,:   Herm,  siS. 

Hathor-head,    248,    250,    3S4,    385,  Herotles,  524. 

448,452  Herodotus,   172,  22(). 

Hawk,    emblem   of   Horus    (Osiris),  ileros.  vh). 

201,    415,    418,    420,   448,    461;  Heu/e\-,  I...  .\i\. 

hawk-headed  figures,  200,  448,  Hieroj^lvphics,  imitated,  ()i,  <j7. 

439.  Himation,    srr  Cdoak. 

Head,     human,    on    ear-ring,     391,  Hinges,  497. 

402;   on  pin,  399,   on  \ase,  89,  Hippocamp,  ^44,  40(),  419,  424. 

97,     214,     260,   on     bell,     92;  Hissarlik,  22,  m. 

bearded,    255,    260,    425,    449;  Hitlite    empire,    xxxi;      linns,    2](): 

colossal    sculptured,     196;    hel-  monuments,      i-i^;      sculpture, 

meted,  211,  316,  330,  423,  449;  M)',. 

female,    104,  295.  Homeric  Age.  .\xx\  :  ear-rings,    580, 

Head-dress,  female,  167;    Egyptian,  -184,    helmets;    i()(j;   king,    ^47; 

340;  high  square,339;  Oriental,  lighting,     345;      cylinder-seals, 

351.     Sec  also  CsLp,  Helmet.  4^  ^ :  deities.  4^4:  sculpture,  nj^ 

Hecate,  191.  Honoratus,  CI  (Radius,  ^i<). 

Hekotos,  304.  Horizontal-circle  ornament,  81. 

Helios,  322.  Horse,    repr.   of,   (;i,    144,   227,   286, 

Hellenic  influence  in  Cyprus,  xxx\ii-  -(14,   542,   ',()<),  4i(),  4(10   1,  518; 

viii;    in  sculpture,    n3~8,    164;  rolling,  4i():    two-headed,    ^45; 

inscriptions,  318;   pottery,  290.  winged,  44O:    with   a   c.ip.  >,()>,: 

Hellenistic  sculpture  in  Cyprus,  138,  with  a  plume,  100. 

134,    183,   212:     in    I-*ersia   and  Horseman,    repr.    of,   99,    144,   228, 

Northern   India,    139,    186,    188;  Mi   4 

pottery,    i  18-19,  jewelry,  394;  Horus;   .vic  Osiris. 

terracotta,   ^38.  Hound,  .wc  Dog. 

Helmet,    irx),   141,    157-8,    190,  205,  Human  figure,  on  \ases,  4S,  O7;    on 

207,      256-7,      345;       .Minixin,  ear-ring,    51)1;    female,  44,  27s, 

196;    Homeric,    196;    Cypri(jte,  3^7,     498;        recumbent,      179; 

201-2,    215,   ^45;    framed,    217,  sealed,   17c),    55^,  4n();    winged, 

unframei.1,  218;    .Assyrian,    11-5;  4O5;    hurling  spear,   294;    man 

pointed,  157,  i()6,  2  1  7,  2  18,  454;  and  lion,  54^;    man  and  horses, 

with  cheek-pieces,  147,205,341,  4K');    man  and  tree,  440. 

345;      with     noseguard,      ]4y,  Hunting  scenes,  227,  44(1.  .}(>',. 

horned.  4^,4;  modelled  as  a  bird,  Hv'dr.i,   Lernaean,    177. 

205,      Hellenic,     196,    205,    207,  11}  dri.i,  unpainted,   119;    asknobnl 

352;     Corinthian    crested,    227  \  ase    cover,     2.SO;      Corinthian 

344,     447;       Hellenistic     deep-  bhick-ligured.  Jo;. 

brimmed,    ■!3();     re[)r.    of,    100,  1  Ivlates,  epithet  nl  Apollo,  i2',,  127. 

colouredyell<i\v(  lorbron/e),  137.  ^20. 
"  I  iemispheriLal  bowls,"  <,2.  -(4. 

Herakle^,   126   7,   170,   180,   ',41,   >,C>\-  liu.x,  repr.  of,  4',4,  4  \(i  9.  44i.ir" 

Homeric,     171;     Oriental,    4  ^p'  44.},  4')S. 

with   bow,    171,   22',     2',4,    24O,  lbu-1'.eied,  4;ii. 

422;     Willi    arrows,    222;     with  ld.ie:iii  C,i\  e,  shield  I  mm,  jo  ■; 

club,    171     22-;,  2',4,  422:    wiih  kl.dion.  xl,  12.1    5,  12S,  i(,j,  i(.S,  iSd, 

lion,   171    2,    177.  207,  2',<>.  2i)i,  24S,    ',1)2. 

407.    41O     4l(;,      with    d'tlphin,  I  niplenieii!  s    fiMiii    (;\priis,    e.irhesl 

172,    cirrvang  aw:iv    l\erkope^,  .(71 

206;      shoohng    Cenl.iur.     2i>(.,  |  nip'.rieil  <ili|r,  1  s.   I'.,ib\  iMiu.m.  \\i\, 

wresllinji,    176;    with  ()ld-.\l. Ill-  .(-'oil.    I  I  in  ih-,  4  ■,  ;.   I  ;'\  1"  i.m. 

of-ihe-S,-.i,     172,      i.imiiig     >e,i  .)  1(1  ll.    1 ',J.  -IS  I  ;    -^.i-.    11     I-' 

monster-,,    172,    Ipokionos,    171;  jSs  li ;  i'-rr,u  ni  i.is,    -,vi 

Kornopinn,  171.  I  iiLeiise-hox,  Ml',,  IS;   4,  I  ;-^( .    ;.  24^ 

-.Hi 


GHNHRAL    IN DUX 


Incised  ornament,  i(),  11)4,  114;  on 
glass,  312;  s\iiihols  (iirajj'iti), 
41.47.4'). 

India,  I  lellenistic  art  in,  i  ^y,  iS(),  188. 

I  nt'ant,  repr.  of,  ',37. 

Inhu';    <(•(■  l-'namel. 

Inseriptions,  2i)C)  f]".;  Arabic,  425, 
42();  bilingual  (Cjreek  and  Cy- 
priote), 300;  Cuneiform,  430  tV., 
430:  C^vpriote,  216,  225,  300, 
318,  414,  419,  425,  43(),  464;  in 
Cypriote  script  but  not  Greek, 
41,  47,  49,  300,  444;  I-.gyptian 
hierogl>-phics,  415,  418,  432, 
452-4;  Greek,  239,  3  i8tf.,  368-9, 
410,419,423,426,518;  in  Cor- 
inthian alphabet,  293;  from 
Iigypt,  319;  Latin,  324,  369; 
Minoan,  41;  Phoenician,  234, 
299,    301-3;    Sassanian,  449. 

lolaos,  176. 

Ionian  revolt,  xxwiii,  137. 

ipoktonos;    sec  Herakles. 

Iron,  xxxii,  xxxxi;  swords  and  other 
objects,  xxxi,  482;  see  Harly 
Iron  Age. 

Ishmael,  425. 

ishtar;  see  Aslarte. 

Isis,  with  horns,  412,  452,  461,  499; 
nourishing  king,  453;  riding  on 
a  goat,  280. 

I thyphallic  figures,  178. 

I\a-vul,  429. 

hory  objects,  418. 

i\y  lea\es,  i  1 3--16,  i  18,  204,  228. 

Jackh  I  and  skirt  of  Minoan  women, 
339,  464-5. 

Jasper,  412,  425,  449,  450. 

Jewelry,  373  IT.;  represented  in 
sculpture,  144,  167,  168,  169, 
197,  198,208,233,244.  .SVc  liar- 
ring,  Bracelet,  Necklace,  etc. 

Judaism,  127. 

jugs,  "barrel-shaped,"  78;  "flat- 
rimmed,"  109:  "handle-ridge," 
119,  467;  "spout  jugs,"  120. 
.SV,'  Oinochoai. 

Julia  Donata,  324. 

K.AHUN,  41. 

Kalopsida,  42-3,  267. 

Kamelarga  site  at  Kition,  330,  352. 

Kamiros,  291 . 

Kantharos,  423. 

Karpass  promontory,  307. 

Karli-hadasti,  xxxi\. 


Katagraphos,  521. 
Keles,  in  Homer,  344. 

Kerkopes,   173. 

Keys,  497. 

Key-fret  (meander)  ornament,  174, 
286,  288,  293,. 

Khalat-i-Sultana  Tekke,  6. 

Khepera,  452. 

Khetaanah,  42. 

Khnum,  452. 

Khytroi,  128;  ring  dances,  347; 
templeboys,  306. 

Kid,  repr.  of,  184,  339,  340. 

Kilt,  Cypriote  (apron,  loin-cloth), 
132,  134-5,  '33.  219,  225; 
Egyptian,  1 52,  \  57, 173,226,432. 

Kimon,  137. 

Kings,  Egyptian,  404,  463;  Homeric, 
346;  Cypriote,  xxxv;  scene  at 
court,  346,  462;  of  Amathus 
(Kinyras),  348;  of  Kition  (l''ny- 
tagoras),  xl;  of  Kition  and  Ida- 
lion,  302;  of  Paphos  (Etean- 
dros),  392;  of  Salamis  (see  E\el- 
thon,    E\agoras,    Menelaos). 

Kinyras,  348. 

Kitias,  1 18. 

Kition  (Kittim),  xiv,  xx,  xxxiv, 
xxxix,  xl,  102,  104,  170,  449; 
coins,  137,  172,  234,  422,  449; 
terracottas,  258,  325;  deities, 
125;  king  of  K.  and  Idalion, 
302;  inscription  from,  306. 

Kleon,  321. 

Knee-cap,  in  sculpture,  225. 

Knife,  use  of,  in  sculpture,  130; 
knife-handles,     487,  518. 

Knossos,  125,  148;  palace  archives, 
312;   glazed  figurines,  332 

Kornopion;   see  Herakles. 

Kotho  Piuios,  324. 

Kouklia,  65;  vases,  69,  71,  106;  in- 
scriptions, 304. 

Krater-amphora,  56,  60,  268. 

Krates,  3  19. 

Kriophoros,  127,  178;  ram-headed, 
181. 

Krohylos  coiffure,   174. 

Kurhasia  head-dress,  345. 

Kurion,  115,  123,  177,  331;  .Apollo 
at,  126;  fibulae,  382;  inscrip- 
tion, 303;  senate  and  people  of 
(inscr.j,  319. 

Kylikes,  Cypriote,  74,  100;  Ionic, 
294;  "  Kleinmeister"  type,  294; 
Attic  black-figured,  294. 

Kykloi  of  Homeric  shields,  343. 


588 


GENERAL    INDfiX 

Lab[(.\nda,   322  riote,  2^(),   241,    ^Ss;    Wosiern, 

Ldbrys.  axe-symbol,  322.  2>,q;      with     Hcr.tkles,     174   s'; 

Lachish,  32.  with  other  men,    171,    iS(),  24','. 

Ladle,  501),  366, 495;  of  alabaster,  276.  4^0,  4^4.  445;   with   bull.   2  ^C)', 

"Lady    of   the   almond    tree,"    320;  24^;    lion-skin,     174;     lion-'-od, 

"L  ofAntioch,"  i()2;  "  L.  of  the  4()S. 

Moon,'     125;    I.  and  maid,  2v*^-  l-ips,   painted   red,    17%   201    4,  2i(), 
Lamps,    Cypriote,    27S,    2S0,     ^G^;  226,  2 38. 

Hellenic,  65;    Hellenistic.   366;  Loin-cloth;   sfc  Kilt. 

Graeco-Roman,     366;      Byzan-  Loom-weight,  ^i(). 

tine,   368;    inscribed,   307,  368;  "  l-ord  of  weight,"  inscr.,  VM- 

of  bronze.   497;    of  glass,    510;  Lotos   (including  petals  and   buds), 

of  iron,  497,   of  limestone,  281;  82  If.,  ()4  If..  1)7-8,   100,   lo^  4, 

showing      smoke-stains,      279;  117,  2(m,  2i(),  22^ -(>,  248,  2()i, 

lamp-filler,  120,  295,  310;  lamp-  ^76,   580,  409,  4^2    5,  444,  4S(), 

hook,    497;      lamp-stands,     70,  4O7;      lotos-palmette,    49s    If,; 

36(),  497  handle  of  bowl,  61 . 

Landmark;    sec  Boundary  stone.  Lozenge-ornament,  76. 

Lang,  Sir  R.  H.,  xiii,  x.\i,  191,  320,  Lucius  Mucius,  craftsman.  4()2. 

Lantern,  278  Lustration,  237;    lustral  spray,   1(12, 
Laodamia,    524.  i()4,  18}. 

Lapis-lazuli,  384,  41 3   45(j.  Lydian  laiipire,   157. 

Larnaca;  sci'  Kition.  L->Te,   in   ritual,    128,    540.   4()2;    at 
/,rtr»(;.v  of  steatite,  miniature,  268.  banquets,     227;      attribute     of 

Lattice-ornament,  65,  66,  72,  7(),  79,  .Apollo,    i,\y,    dreek   l\pe,    108, 

101,  103,  118,288.  184.     190.     ^t(),    4()s:     torloise- 

Laurel    (bay)   wreath,   as   attribute,  bodied,  422;    lyre  pla\'ers,  male, 

118,  204  110,  512;   female,  i()8,  i()o,  293, 

Laver,  238.  552. 

Lawrence-Cesnola  (Collection,   x\iii. 

Leaden  objects,  518.  .\L\ci,-iii-. ad  of  stone.  26():  nf  bron/e, 
Leaf-ornament,    7(),    210.    228,    268,  4'^7;   as  di\ine  attribute,  171. 

494;  crown  of  lea \es,  2  10.  Maenad,  425. 

Leather-work,  repr.  of,   151,  217;    in  .M.igirios,  epithet  of  .Xpollo.  1  27,  -(of). 

pottery,  14,  y).  Makers' marks,  2  59,  •125,  3()8  9,492. 

Lenaios,  303.  Malachite,  414. 

Libation  bowls,  18',.  186,245,  315.  .\lalika,  ei)ithel  of  llerakles,   127. 

Lids    and    co\ers   of    \ases.    75;     of  .\Liltese  cros->;    mi'  ( aoss. 

glass,    510;    of  sarcophagi,   226  .\Lin;    ,m  c  1  lumaii  (igiire. 

If.,  23  ^  Marble,  iiillut'iue  mi  lei.hni(|ue,  •;o8; 
Life-size  figures,  2i().  255.  .Syri.tn,  2m. 

Lime-incrustations  on  statues,  xxiii,  .\Lirion     (,\rsiiioe),     110,     us,    2i).\. 

22',,  ',19.  V,  I,  ','-,>>. 

l.imestonr     fA'priote.    i2()    If.,    214,  Masks,  human,  68,   i.}(i,   1  S"    i,2sS. 

266:     fi)rei,i;n,    is^;     objects   of,  i4o,  >4<),  ',02,42s:    ,1111111, il,   ■,.(ii, 

278.  ',42. 

I.imewash,    in    sculpiiire,    151,    227.  Meal,  sacred  :  mv   B.inijiiei ->.  cue. 

228.      .S,v  ,;/m-  I'.iinl.  Mi-ander:    ^,vl\e\•drel 

Limniti     260.  Medusa;    ^,-,C,n]-<u)U 

Lions,   n-pr,   of,    1  i.^.    1  >,.},    14s,   227.  Melek-\Ml  hoii.    v'-^ 

256   7,   270,   272,    362.    ^87,    V)'.-  Meloucha   (IIKKJ,   .Meluii-.h.i  i,    ',19 

420,    4v,,    4'.^.     It".    444.    4'i):  Melcpirl,    127. 

heads,  2.J1;    in  gold-work.    -iSS.  Men, ml,    |  ,  .[v.    iP 

591.    ',9^   ,^02,   407;      \ii:ili)li,in  Mrihil.    h.uA  pi  III!    s\inhMl,    p,  j 

types,     2',9,    4\<>:     llllllle,     170.  Mcllei.ios.    km-    111    N.il.iMils,     -,')'■< 

242;      ,\s^\rian,     i',,j;         mixed  Mm- Kheper-iM.      kin.L',     ni      I  ;;\  pi 

Oriental,  259,  241    2,261;    Cyp-  .pS.    P'^'   4i',. 

589 


GENERAL    INDEX 


Mcnodoros,   517. 

Metal-wiirk,    imitated    in    pottery, 

.\lilk-bo\sls,  12,  i(). 

Miiletiori  glass,  ^07;   imitated,  402. 

Miniature  \ases,  2C),  40,  80  IT.,  85, 
107-8,    111,1  U)-20. 

Minoan  ci\  ilization,  xxx;  Karly- 
Minoan  influence  in  C\'prus, 
15:  l.ate-Minoan  ( .\l\-cenaean) 
C(jlonies,  xxxi,  45,  475;  influence 
in  C>prus,  ^1,  46:  potter}',  50; 
shrine,  125;  double-axe  god, 
171;  "shaft  graves"  of"  .My- 
cenae, ?7().  Sii'  also  Knossos, 
C>' pro- Mycenaean. 

Mirrors,  197,  280,  41)1,  518. 

"Mixed  Oriental  Style,"  xxx\ii; 
sculpture,  154,  134  tl'.,  198  fT.; 
terracottas,  330  ff.;  ornaments, 
383  tV. ;  gems,  412  If. 

Modern  festivals  of  C\'prus,  321; 
modern  glass,  313;  locks,  498; 
potteries,    1  19. 

Monkey,  repr.  of,  101,  342. 

Monograms  on  lamps,  369. 

Moon-Goddess,    123. 

Mother  Goddess,  repr.  of,  125,  233, 
350,  354,  336,  386;  at  Idalion, 
247;  at  Paphos,  310;  "nursing 
mother"  type,   180,  334. 

Moulds    for    terracottas,    329,    330, 

Mountings  tor  c}'linders,  378,  390. 

Mouse-god,    126. 

Moustache,      treatment     of,      204, 

236-7. 
Mouth-plates,  376,  386. 
Multiple  brush  for  \ase-painting,  73. 
Murray,  .\.  8.,  xw 
Mut,  EgN'ptian  deity,  432. 
Mycenaean;  ii't'  .Minoan  civilization. 
Mykale,  battle  of,   xxx\  iii,   137. 
Mykerodis,    epithet    of    .Aphrodite, 

320. 
.Mykhoia,  epithet  of  .Aphrodite,  317. 
Myrina,  figurines  from,   337. 

Nah.s,     bronze,    498;   gilded,    317; 

nail-head   pendant,    383. 
Naos,    316. 

.Napkin  \\(3rn  by  votaries,  221,  -jos. 
Naram-Sin,  king  of  Babylonia,  450. 
National  Museum  at  .Athens,   31. 
Naturalistic     art,     xxx,     134,     1^8; 

colouring  of  terracotta,  238-9, 

260. 


Naukratis,  xxxv  ii,    160. 

Necklaces,   376,  386,  390,  393,  396, 

398,     493,     498;    repr.     of     in 

sculpture,  167-9,  '97.  208,  223, 

233,   244,   248,   250,   259,   261; 

in    terracotta,    340,    331.     See 

also     Bead,     Collar,     Pectoral, 

I\^ndant. 
Needles    of    bronze,    474;   of    bone, 

5 18;   for  netting,  492. 
Negro's  head  as  ornament,  271. 
Nemean  L.ion,   171. 
Neo-Orientalism,  138. 
Nergal,   Babylonian  deity,  430. 
Net     for    fishing,     441;    net-sinker, 

316;    netting  needle,  492. 
Newton,  Sir  C.  \\  .,  xv,  xxi. 
Nikandros,   321. 
Nikias,  320. 

Nikokles,  king  of  Salamis,  xl. 
Nineveh,   160,  438. 
Nubia,  relations  with,  xxxvi,  418. 
A';//7-sign  on  gems,  418,  420. 
Numerals,  in  inscriptions,  316,  317; 

.Arabic,      444;   C\priote,      312. 
"Nursing    Mother,"    180,    334;   sfi 

.Mother-Goddess. 
Nymiphs,  repr.  of,   123,  293,  310. 

0(-FERiNGs;  sec  N'otive  offerings; 
table    of,    237. 

Ohnefalsch-Richter,    D,-.    .M.,    xx. 

Oil-bottle  {h'kythos)  carried  by 
votary,   221. 

Oinochoai,  "barrel-shaped,"  89; 
"bird-jug,"       468;  "plain- 

bodied"  tvpe,  91;  .Milesian, 
292;  bronze,  487;  silver,  468. 
See  Jug. 

"Old-.Man-of-the-Sea,"  in  combat 
with   Herakles,    176. 

Oliasos,  322. 

Olive,  inscr.,  303;  sprav,  wreath, 
leaf,   in  ornament,    1 16,  268. 

Olympia,  438;  Olympian  deities, 
126. 

Olvmpianos,   321. 

Onasias,  306. 

Onasioros,  314. 

Onasithemis,   304. 

Onasitimos,   313. 

Onyx,    399,  423,  423. 

Opaon  .Melanthios,  127,  177-8,  321 

Orator,  votive,  129,  189,  300. 

Orb;  see   Disc. 

Oreichalkos,  423. 

Oreithyia  and  Boreas,  gem,  422. 


590 


GENERAL    INDEX 


Oriental  influence  in  Cypriote  art, 

XXXV,  82,,  133  <y.,  329,  350  ir., 

382  tT  ,  458,  490. 

Ormidhia,  \iii,  179. 

Ornament,  cur\iiinear,  18;  dotted 
(punctured),  22,  216,  271,  288; 
geometrical,  73,  279,  487;  gran- 
ulated {sec  Granulation);  in- 
cised, 16,  271;  modelled  in 
relief,  12;  naturalistic  (pic- 
torialj,  93;  based  on  animal 
forms,  13,  27,  48,  67,  70,  84-3, 
288;  floral,  31,  67,  70;  human, 
12,    painted   {see  Paint). 

Ornamental  moti\es;  see  Arrow- 
ornament,  bands  ("broad  and 
narrow"),  basketry,  cable 
ornament,  chain,  chequer, 
circle  (concentric,  \ertical, 
horizontal),  crescent,  cross, 
disc,  egg-and-dart,  "excres- 
cence," eye,  feather,  fleur- 
de-lys,  gadroon,  key-fret,  lat- 
tice, leaf,  lotos,  lozenge,  me- 
ander, "nail-head,"  palmette, 
panel,  papyrus,  plait,  ribbon, 
rosette,  'sacred  tree",  scale, 
seam,  snake,  spiral,  star,  stitch, 
swastika,  tongue,  triangle, 
\olute,  "wa\y  line,"  zigzag. 

Ornaments,  personal;  see  Bracelet, 
liar-ring,  Frontlet,  Necklace, 
linger  Ring,  etc 

Orthros,   203,   234. 

(Jscilla,  masks  for  suspension,  34(), 
362. 

Osiris  (Horus),  repr.  of,  319,  413, 
453,  49(),   \silh  Isis,  412. 

Ox;    see   Bull, 

Paint,  on  polierv.  \  iii,  23,  ]o,  36,  37, 
62,  91,  on  sculpture,  151,  135, 
162,  i()(),  iO();  on  lerracotlas, 
329,  334,  i<,(,;  on  glass,  310; 
polychrome,  9-(,  i  lO    17. 

Paints  (pigments;,  special  uses  of, 
black,  148,  [<>(),  179,  181-2,  23(), 
238^  blue,  ()i  2,  346;  green, 
143,  14'"^.  '>44:  orange,  117; 
purple,  I  17:  rt'd,  44,  06,  70, 
.S5  4,  91,  iod.  14^  23S  iirv- 
quentlv;,  20S,  2S(),  ',(),S,  f,]2, 
51O,  540,  ',4(),  w  it  h  blaik  eilges, 
MM_2<;i,  ',',7:  on  black  ground, 
<,n;  yellow,  i)2.  ](>',.  l')(),  |S(), 
',4 ', ,  \s  hiif,  103,  KiN,  I  lO;  on 
black  grountl,  98,  on   red,    117; 


chalky    lustreless,    37    ff.,    109; 

lime  colour,  310,   lustrous,  334, 

on  Italian  pottery,  289. 
Palestine,     early     culture     of,     46; 

W  heelmade  Red  \\  are,  41. 
Palettes,  2()7,  307. 
Palmette,  82,  1  17,  228,  255,  237,  244, 

248,  386,  391,  407,  499. 
Pan,  deity,  123,  177-8. 
Panel-ornament,   63-6,    76,   86,   98, 

103,  241. 
Panther,  repr.  of,  423. 
Pantilos,  309. 
Paphos,  xli,  124;    Paphian  Goddess, 

304,     321;      at     idalion,     1O8; 

sacred  doses,  182 
Papyrus-ornament,    418,    439,    438, 

460-1,  463. 
"Paris  with  the  apple,"  189. 
Paste,    i-lgyptian    glazed,    271,   412, 

415,  420;    \arious  colours,  390, 

399,  412,  413,  424,  441,  487-8; 

blue   or  green,    409,   414,   4i(); 

bright    blue   chalky,    416,   433; 

imitating  onyx,  399,  424-3,    or 

rock  crystal,  399, 
Paterae,  sil\er,  467. 
Pattern;   .vrr  Ornament 
Paulus,  see  Sergius. 
Payments  for  enfranchisement,  312. 
Pectoral,    Egyptian  ornament,  432. 
Pedestal,   189. 
Pegasos,  repr.  of,  227. 
Peloponnesian  schools  of  sculpture, 

inlluence  of,  211. 
Pendants,    various   forms  gold    anti 

siher,    385    >,()(.):     on    ear-rings, 

383,     of    l-.gN'ptian    glaze    and 

hard  stones,  430,  4,2:    of  glass, 

402,     of    steatite,    271:     signet 

rings,     331;     on    a     belt,     ;3t  ; 

repr.  in  sculpture,  244,  2S9. 
Pergamon,  artistic  inlluence  of,   1  -(S. 

1()0. 

Persephone,    337;    and  Hades,  411). 
{-"erscus    anel    the    Gorgon    .Medusa, 

206.  227. 
Perst'Ules.    306 
i'ersia,  xxx\  ii,  1  >,(). 
Pestles,  267. 

Petrie,  Prof.  W  .  .\1     I'  ,  278. 
Pelsola,   I  38. 
Phaiitasios,  ',](). 
Phigaleia,  horseheaded    Demcteral, 

12<>. 

Phii.ulrlphns;    w  (■  .Arsinoe.    Ptolemv. 
Philippa,  303. 


591 


GENERAL    INDHX 


I'liilistines.  xxx. 

I'hillos.  U)S. 

I'hilopator;   srt-  Ptolemy. 

I'hiUnimos.  ^o-. 

I'hocnician  Seapower,  xxxiw  lOi-^; 
inscriptions.  \o\  and  Appendix. 

Phngian  Seapower,  xxxi\  :  i'hrygian 
pottery  from  \ortan,  21. 

Ph\lacteries,  ^Sy 

Ph\  lai\opi,  4()o. 

Phvlliri,  iiS. 

Piekaxe,  repr  ot\  ^14. 

Pictorial  tiesigns  on  \ases,  ov 

Pins,  ^7?,  474,  402:  of  gold,  ^c)2; 
of  siUer,  374,  504.  ^oo;  of  bone, 
518. 

Pine-cone  as  ornament,   i8q,  518. 

Pipe,  double,  181.  4(15;  Pan-pipes, 
178;  mc  Flute. 

"  Piriform  "  \'ases,  47,  49. 

Pitt-Rivers  .Museum,  vases,  98. 

"  Plain-bodied  "  \  ases,  74,  82,  291 . 

Plait-ornament,  4:)9. 

l^lant-ornament,  48,  11s. 

Plaque,  with  i\or\'  car\ing,  517:  as 
controls  in  medallions,  38^-6; 
of  Pg\ptian  work,  4^2-3. 

Plasma.  412-13,  4;'.)-20,  448-9. 

Plates  of  hard  stone,  267. 

Pliclnini.  168,  332. 

Plenty,  figure  of,  424-3. 

I'nytagoras,  king  of  Kition,  xl. 

Poet,  \oti\e,  129.  190. 

Polishers,  stone,  266. 

l-'oli,  294:  .w'l   .Marion. 

Polos,  head-dress,  i(x),  181,  237,  337. 
Sic  also  Head-dress. 

Polychrome  ornament;   sec  Paint. 

i'olvkleitos,  influence  of,  ;  1 1 . 

Pomegranate,  repr.  of,  92,  ; 83,  391, 
396,  318. 

Portrait  sculpture,  128-9.  133,  158- 
c).  212-13;    Pg\'piian,  132. 

Poseidonios,  323. 

j-'ottery,  principal  uses,  fabrics, 
sivles.  P>r(.)nze  Age,  3,  7;  Harly 
Iron  Age,  34:  Hellenic  .Age, 
112  fl'.;  in  (;\-prus  .Museum,  7, 
31.  144.  280;  .\]iulian,  ()();  .At- 
tic, 203  tf. :  other  Cireek  fabrics, 
283  If.;  unpainte^l,  ii8:Cjraeco- 
Roman,  1  U):  imitating  bronze, 
30,  34.  ''"•  2^>'^-  A^l'  siher,  33, 
basketry,  i(),  17,  gourds,  12  tl'., 
horn,  3,  leather-work,  is,  17,  32, 
3(),   3():    wooden  \essels,  31,  78. 

Praenesle,  Oriental  bowls  from,  4O3. 


Praxiteles,    138. 

Prayer,   Cjreek,   313;    monotheistic, 

'  ^22 

"Priest  with  a  Do\e      statue,  214. 

Probes,  492. 

Procession,  repr.  of,  228,  314. 

Proto-Corinthian  fabric  of  vases, 
XXXV,  290;  its  Cypriote  equiv- 
alent, 80. 

Prototimos,  304. 

Psammetichos,  king  of  Egypt,  xxx\i, 

Ptah-sekar,  Egyptian  deity,  188, 
432. 

Ptolemy  11,  Philadelphos,  318; 
[-"tolemy    1\',    Philopator,   319. 

Publications  of  the  Cesnola  Collec- 
tion, xix;   see  Bibliography,  liw 

Pumi-yathon,  302. 

Punched  ornament         (tubular 

punches),   19,  97. 

Punishment,  repr.  of,  347,  462. 

Purchase,  record  of  (inscr.),  318. 

Puri,  430. 

P>'la,  127,  191 ;  inscr.  306. 

Pyxis,  proto-Corinthian,  291. 

Queen,  repr.  of,  464. 

Qui\er,    repr.   of,    164,    173-4,    ")'• 

247.  341.  345.  700. 
Quoit  of  an  athlete,  280, 

R.\,  Egyptian  deit\",  412;  as  hawk, 
432. 

Ram,  repr.  of,  178-9,  181,  342,  432; 
head,  178:  mask,  68;  ram- 
headed  serpent,  97;  deity  {see 
Khnum). 

Rameses  111,  king  of  Eg\'pt,  xxx, 
273- 

Rattles,  43,  337.  387-8. 

Red  Polished  Ware  (Fabric  i),  11 
fi.;  Red  Slip  Ware  (Fabric  ii), 
22  IT. ;  W'heelmade  Red  Ware 
(Fabric  \ii),  41;  Red  Painted 
Ware  (Fabric  x\ii),  103  ff. ; 
Red-figured  .Attic  \ases,  293; 
imitated  in  C\priote  potter}', 
113;    red  paint  [see  Paint j. 

Fielief-ornament,    12,    17. 

Religion  of  ancient  C\prus,  124-7; 
see  Ritual,  Sacrifice,  Sanctuar)'. 

Repainted    \  ase,    67. 

Repairs,  ancient,  x\iii,  222-3;  rnod- 
ern,  xxi\-,  217. 

Representati\e    (.pictorial)    art,    90. 

Rescue-scene,   314. 


592 


GENERAL    INDEX 


Reshef-melqart  (-mikal),  126-7,  '7"- 

Reshef-yathon,   302. 

Restorations;   see  Repairs. 

Rhyton,    120. 

Ribbon-ornament,  20S. 

Rings,  from  harness,  493:  "loom- 
rings,"  37q;  fmger  rings,  405  W.; 
signets,  410;  pendant  rings, 
414;  swivel-rings,  416,  418; 
motto-rings,  410;  cloisonne, 
409;  filigree,  420:  of  bone,  518, 
glass,  425,  glazed  paste,  420, 
rock  crystal,  425;  in  I^ronze 
Age,  420;  Mycenaean,  406; 
Oriental,  407,  418;  Egyptian, 
406;  Cypriote  style,  407-8, 
416,  4K),  420,  423. 

Ring-dances,  330,  347;  ring-vases, 
27,  68,    lot). 

Ritual,  127,  3  1 5,  465. 

Rose-quartz,  420. 

Rosette-ornament,  82,  83,  83,  87, 
91,  95,  98-9,  107,  155-6,  207-8, 
237-8,  256,  274,  286,  384,  388, 
437.  446. 

Roundels,   576. 

Runners,  repr.  of,  97,  294. 

"Running-dog"    ornament,    290. 

Sacki-,1)  Animals,  127;  pool,  125; 
trees,  ■(47;  "sacred  tree"  orna- 
ment, 82,  ()3  4,  215,  228,  250-1, 

286, 412, 4 1 5, 433-4. 4r/.  440-4. 

447-«- 
Sacrifice,   repr.  ot,  3f)(),  463. 
.Saddle,  144,  343;    modern  (Cypriote, 

344- 
Saddle-quern,    347. 
"Saint  (Catharine's  Prison"  at  .Sal- 

amis,  6. 
Saint  Paul  in  Cyprus,  .\li. 
Sakhmi,    t\gyptian   lieity,  452. 
Salaminia,    324. 
Samson    compared    wiih     lierakles, 

172. 
Samuel,   consecrated    inlant,    iSS. 
Sanctuaries  of  (Cyprus,    123   4,    320. 
Sandon,     llittite     deilv,      172,     433, 

4<r-,. 
Sandvvilh,   I  .  \'>  .  \'\u. 
Saqqara,  32. 
Sarcophagi,    6;        sculptured,     22(>, 

228,  2',(>.    mumnn-shapeil,  23-1. 
Sard,    387,    3i;8  (),   400,   4(i8-(),   412. 

414    16,     418    K),     420,     422    5, 

4'.<J 
Sardoiiy.x,  424. 


Sarmazdi,  449. 

Sash,  painted  on  stele,  250;  in 
low  relief,  248. 

"Satraps'  Revolt,"  xl. 

Satyrs,  179,  235,  294,  342. 

Saucer-lamps,  280. 

Saiirotcr,  butt-spike,  4S2. 

Sa\age,  .\.    I).,   xix. 

Scale-ornament,   71,   2H). 

Scarabs,  447;  Egyptian,  134,  415; 
geometrical  style,  447;  mixed 
Oriental,  412;  .\rchaic  Cvp- 
riote,  448;  Sphinx-shape,  412. 

Scaraboid,  Oriental  ,  412,  446; 
.Archaic  Cypriote,  447;  human- 
headed,  446. 

Sceptre  of  agate,  374;  held  by 
deity,  312. 

Schihibelkainie.  "beak-spouted"  jug, 

14.  17.  47- 
Scorpion,  repr.  of,  425-6,  441,  443, 

.  44f>-  . 

Script,  Alinoan,  299;  Cvpriote,  278, 
301,  419,  425,  434,  437;  com- 
pared with  l^ydian,  301;  {-"eh- 
le\i,  44(). 

Sculpture,  purpose  and  use  of,  123, 
127;  voti\e,  128;  materials 
and  processes,  i2();  tools  of 
C\'priote  sculptor,  130,  305; 
"rough-tooling,"  179,  181;  use 
of  colour,  I  3 1  [see  Paintj; 
change  of  design,  227;  bar- 
baric work,  1 3();  cut  with 
knife,  305, ■  succession  of  styles, 
132;  .Assyrian  influence,  141; 
Egyptian,  134.  i^'.  i')3-4: 
mixed  Oriental,  134,  151,  154: 
Archaic  CCvpriote,  138,  160, 
163,  202;  mature  (Cypriote 
stN'le,  1  37;  decadent,  2 10; 
Hellenistic,  1  58,  185,  212: 
(jraeco-Roman,  i  38;  minor 
tyjies,    166,    funerary,  210. 

Seal-stones,  liabylonian,  xxix,  443; 
.Assyrian,  41  1,  443:  S\rian  and 
.Asian,  440  ff.;  .'^lycenaean,  410, 
44(');  Sassanian,  44S  t);  miscel- 
laneous, 442;  of  bron/e,  .1.41). 
See  (Cylinders,  iaigra\ed  (jems. 

Scani-ornanu'iit,   15,  32,  30, 

"  Seapciwcr  of  (A'prus,  '  x\xi\,  2()(>. 

Sea-Raitls,     in      I, ate     llronze    .\ge, 

50. 
'  Secondar\'  burials,"   5. 

Senatorial    cara-cr,    ^19. 

Serapis,   127,  42O. 


i93 


GHNERAL    INDHX 


Sorgius  l\iulus,  I.iicius,  pniconsul, 
4(1  A.  I).,  xli;  Ouinlus,  319,  348. 

Serpent ;    Sti    Snake. 

Serpentine.   2bj. 

Set,    l-'.gyptian  deity,  423. 

■■  Shal't-gra\es"    of   Mycenae,    376. 

Shaft  of  iron,   ^74. 

Shekel,  Phoenician  and  Jewish,  312. 

Shells  {DoUitm  >^aL-a),  318. 

■'Shepherds'  Patron,"  177,  181, 
188;  shepherd's  staff.  188,  in 
bronze,   488;    repr.,   4()i. 

Shields,  147,  ^43;  .Assyrian,  13^, 
230;  .Mycenaean,  374;  round, 
97,  207,  228,  344-3,  414,  447; 
Oriental  t_\pe,  71,  ^46;  of 
flexible  leather.  46^;  with  scale- 
pattern,  71;  with  central  boss 
representing  eagle  or  bull,  346; 
or  lion,  346,  487;  or  horse,  207; 
Western  t\pe,  from  the  idaean 
Ca\e.    437.      Sic  also  Warrior. 

Ships,  repr.  of,  548;  and  sailors, 
^14;    l.gyptian  solar  boat,  418. 

Shoes,   1  SI).   i(h,  2()\. 

Shovels,  of  bronze,  476;  stone,  309, 
3()();   cla\.-,  36(). 

Shrine,  124:  repr.  of,  348;  .\linoan, 
123;  Egyptian,  1 33;  of  .Mother 
Goddess  (miniaturej,  180;  port- 
able, 278. 

Sickle,  476. 

"Siege  i5owl"  from  Amathus,  viii, 
438. 

Signs;   sec  Symbols. 

i'z'i,'3w«d-spear,  482, 

Silenos,  188. 

Silver  bowls  and  other  \essels,  437 
ft".;  coins,  xxx\  ii;  personal  orna- 
ments, 373  ff.;  fibulae,  382; 
rings,  408  tf. 

Sin,   Bab\ionian  deity,  ^^o. 

Siren,  1O9,  452. 

Sistritm,  432. 

Skirt  and  jacket,  .Minoan,  436. 

Skopas,  1 38,  2  M. 

Sling-bullets,  518. 

Slip  on  pottery;  red  and  black  slip 
wares  (Fabric  ii),  22:  black  slip 
with  red  paint  (|-abric  i\  ),  30; 
white  slip  ware  i  Fabric  \ ),  31; 
other  varieties,  11,  3O,  60,  109 
fT.,  116  IT.;  on  terracottas,  237  ff. 

Snake,  repr.  of,  17,  177,  182,  310, 
340,  349,  395,  409,  422,  426, 
440-1,  459,  493;  attribute  of 
Asklepios,     177;     of    Flerakles, 


177;  snake  goddess  in  Crete. 
148;       serpent-charmer,       148, 

340,  444;  in  modern  Cyprus, 
14();  Egyptian  iiraciis-sn^ke, 
\  ■-,',,  200,  219,  224-6,  412-13, 
41 3,  418-20,  448,  432 

Snow-man  technique,  114,  331,  337, 

341,  342,  349- 
Sockets,  bronze,  496. 
Sogenes,  323. 
Sokrates,  323. 
Soloi,  xl,  347. 
Sopatros,  324. 
Sosianax,  323. 

Sow,  repr.  of,  432. 

Spatulae,  bronze,  492. 

Spears,  97,  228,  473;  "spear-point" 
pendants,  383,  391. 

Sphinx,  repr.  of,  128,  160,  169,  170, 
233,  233,  247-8,  230,  292,  293, 
389,  407-8,  412,  418-19,  436, 
439,443-4,448,461;  attribute 
of  .X polio,  126;  ram-headed,  412 

Spindle-whorls,    19,  20,  271-2,   506, 

5  "3,  317- 
Spiral  ear-rings,  374,  376,  3S5,  388; 

bracelets,    392-3;     rings,    409; 

ornament,     49;      mechanically 

drawn,  89;   S-spiral,  439,  441. 
Spoons,   of  bone,    518;    glass,    513; 

silver,  468. 
Spouts,  of  \ases,  113,  120;  animals' 

heads,  1  17. 
Spray  of  Iea\es,  as  attribute,    184, 

186,  220,  237,  243,  295. 
Stag;   sec  Deer. 
Star,  286,  441-2. 
Stasidamos,  3  17. 
Stater,  3  12. 
Statue,     restoration     of,      129;      in 

honour  of  athlete,  320. 
Statuette,  of  bronze,  49c);    of  lead, 

318.       For  stone  and  clav,  sci 

the    Collections    of    Sculptures 

(123   fT.j   and    Terracottas  (329 

If.).' 
Steatite.  263,  267-8,  411,  418,  422, 

432,  443-4.  446,  44''^;    Egyptian 

glazed.  41  3. 
Stelae,  2  38;    with  lotos  capital,  230, 

4()3;    with   xolutes.  248,   316. 
Step  ixom  a  throne,  \oli\  e,  236,  308. 
Stesikrates,  419. 

Stitched  work,  imitated  in  clav,  17. 
Stone,  objects  of,  263;    glazed,  418. 

Sci   Basalt,  Diorite,  Limestone, 

Steatite,  Serpentine. 


594 


GENERAL    INDEX 


Stone  Age  in  Cyprus,  xxvii. 

Stone-cutters,  illiterate,  300. 

Strainers  in  vases,  73,  gS,  106,  281. 

Stratios,  epithet  of /eus,  322. 

Strigils,  492. 

"String-hoies"on  \ases,  16,  17,2^,65. 

Students'  Series,  in  Cesnola  Collec- 
tion, xxi\'. 

Stylus,  bronze,  492. 

Sub-Mycenaean  style,  xxxii,  62 

Sun-gods,  123;  "Sun-on-Horizon" 
amulet,  451.  For  other  solar 
symbols  .<(•<■  Disc. 

Susa,  terracottas  from,  335. 

Swan,  repr.  of,  183,  187. 

Swastika,  66,  70,  73,  79,  83,  91,  96, 
97,  100,  106,  286;   modified,  95. 

Sword,  xxxi,  xl,  164,  247,  261,  344, 
482;  Assyrian,  133;  Cypriote, 
xl;  Greek,  482,  483;  Roman, 
190;  hilts,  i83,483;pommel,448. 

Syllabar\',  Cypriote,  300. 

Symbols,  on  gems  and  cylinders, 
432,438-9,  444..  47 1.4 52- 

Syria,  335,  471. 

JABLt,  repr.  of,  244,  348,  464,  465; 

of  offerings,  2^7,  448,  518. 
Tamassos,  31,  141,  225,  306,  331. 
Tambourines,  128,  142,  339-40,332, 

357-464-5- 

I  amigoras,  223. 

lanagra,  figurines  from,  337. 

I  arentum,   172. 

I  arsus,  xxxi\',  171. 

"Tear-bottles,"    120. 

1  eeth,  of  an  ox,  5 18. 

1  ell-el- Amarna,  ^1,46,  ^oy.  lell-el- 
lles\-,  32,  4!  ;  lell-er-Ketibjh, 
278;     1  ell-rl-\  ahudiyeh,  42 

Femple  of  Paphos,  124,  214,  410; 
of  Jerusalem.  310:  of  F.phe;ian 
Artemis,  ■(S4;  temple  records, 
■!  II).       .SV('  Sanctuar\'. 

lempleboys,  12.S,  i8f),  23<),  ^o6.  312; 
in    lerraotia,     ^Oi;     inscribed, 
3"S. 
'I  ensile  forms  in  potter\-,  00. 

1  eos,  f  ic). 

lerracolta,  uses  of,  ^v);  processes 
of  maiiuf.icture,  ^2(),  ',34;  fig- 
urrs  in  \arious  earl\'  fabrics. 
2S3,  ',',2  (t;  separate  parts  of 
figures.  23s;  jxiintrd  details, 
•(21);  sec|uence  of  styles,  (^i; 
l'r(jn/e  Age,  ',',2:  Oriental 
sl\le,  20(),   5311;    Cypriote  stsle. 


237;     Hellenic,    333,     tripods^ 
67;     co\ers,    73;     ware,     3^4; 
fabric  of  Kition,  231,  323,  334; 
of  Kurion,  334;  of  Alyrina,  334: 
of    lanagra,    534:    of  Southern 
Italy,  339. 
Terra  siiiillala,  i  19,  120. 
Teshup,  Hittite  deity,  172. 
Tdtix,  386. 

1  eucer,  Homeric  description  of,  343 
Textiles,   162,  164;    rendering  of  in 
sculpture,  221;    crinkled   "cre- 
pon,"  1 34,  163,  184,209,222, 305. 
'I'harros,  203,  407. 
'I'hebes  in  Hgypt,  inscr.  from,  319, 
Themias,  318. 
Thera,    31. 
Thor,    171. 

'i'hoth,  iigyptian  deity,   133,  433. 
Throne,  183,238,463;  steps  of,  308; 

enthroned  figure,  357. 
1  hueris,  Egyptian  deity,  432-3. 
Thunderbolt,  repr.  of,  312. 
Thyrsos,  423. 
1  ile,  inscribed,  306. 
Timagoras,  223,  321. 
Timodoros,  305,  318,  323. 
I'imokretes,  306. 
Timon,  (  Timos,    Timo),  320. 
Tirhakah,  king  of  Hgypt,  390. 
Tisandros,  306. 
I'oilet-boxes,  238,  279,  317. 
'Tombs,   in   Cyprus,    5,  46,  65,  ()o; 
equipment,  4,  7;    lironze  .\ge, 
379;  .Mycenaean,  378;    Phoeni- 
cian, 203,  407. 
'Tombstones,  238  IT.,  307  IT.,  painted, 

323- 
I  ongue-ornament,  291-  2. 
1  ools  of  (Cypriote  sculptor,  130;  of 

bronze,  476;    of  iron,  482. 
Torch-holder,    104,   493. 
I  ortoise,    187. 

I  oumba  siteat  Salamis,2  37,33  1,330. 
Tov'S,  2(),  4-i,  ()i;   120,  >,i,- 
I  reasure   of   C-urium,"   x\  i,    x\iii, 

306,    ^07. 
I  rees,  repr.  of,  102   4,  108    i  18,  131, 

133.    227,    2J,3,    2iS,    >,iy    con- 

\entional,  48,  -ji),  H().   111,  410, 

4i(),    442- i,    446;      sacred    {src 

"Sacred    Tree"j. 
Triangle-ornament,   91,    100. 
Tributaries,   re|ir.  of,  462. 
I  rick-\ases,    1  1  ;. 
I  ricolour  fabric  of  Red  Ware,   109, 

111,    115,    117. 


70S 


GHNHRAL    INDHX 


'I'n«l<hhn!  arrow,  41)0. 

I  ripods  of  cla\',  (ij;   of  bronze,  487; 

of  stone,   2()~. 
I  rough,  2()S,    ^01),    510. 
I  rumpel,  repr.  of,  20c). 
lunie,     C.N'priote,     H5,     15^,     \^S; 

elaboratel>'       decorated,       200; 

o\er-tunic,      179;    Doric,     243. 

S,-r  " (Chiton. " 
1  uran-.Agiu,  4^1. 
lurban.    i^c):  .vc   Head-dress. 
Turin,    Royal   Museum,  65. 
I  urquoise,   424, 
I  weezers,  474,  4()2. 
i  yre,  xxxi,  123,  172. 

L'MiiRi-i.LA,  repr.  of,  228. 
L'shabti  figures,  432. 

\'.\si;s,  uses,  3;  as  toys,  without 
utility,  2C);  fantastic,  15,  110, 
2i)j:  principal  fabrics,  3,  54  fi'., 
62  If.,  103;  irnported  Greek, 
XXXV,  283;  Minoan,  13,  268; 
Attic,  76,  293;  Corinthian,  292; 
Dipylon  style,  286;  Ionian. 
295;  \ase-painting,  98,  109, 
I  16;  retouched,  98;  \ases  of 
alabaster,  80,  238,  277,  303; 
blue  glaze,  272;  bronze,  494; 
crystal,  394;  glass,  303  ft'.; 
steatite,  276  ff.;  stone,  280; 
ring-shaped,  109;  trick-\ases, 
113;  woman  and  pitcher  xases, 
112-13.     '^V('   Pottery. 

\'asiliki  Ware  in  Crete,  20. 

"N'ertical  circle"  ornament,  81,  83, 
87,  9();  combined  with  "hori- 
zontal," 81. 

\'est;   sff    I'unic. 

Victory,  repr.  ot,  416,  423-3. 

X'illage  of  Helikousa,  320. 

\ogue.   Marquis  M.  de,  x\-,    123. 

X'olutes,  257-8,  248,  230,  278,  316, 
408,  438,  491,  497. 

\  oni,    124,    128,   306. 

Notary,  repr.  of,  68,  93,   177,    180, 

314.  3"8,  413.  425/443-4.  46?; 
Oriental,  129,  189;  Egyptian, 
132;  in  Greek  dress,  139,  336; 
Phrygian,  214,  361-2;  with 
attributes  of  .Apollo,  211;  fe- 
male, 142,  163,  166,  191,  192, 
208,  242,  332;  male,  184-3, 
194;  in  travelling  dress,  164; 
female  moulded  with  beard, 
332;    masked,     68,      130,      131, 


340;    recumbent,      181;    riding, 
3()2;   warrior,    332. 
\'oti\e  offerings,   128,  163,   182,   189, 
237,  280;    sec  .Animals. 

Warriors,  92,  129,  147,  137-8,  190, 
228,  261,  291,  293,  320,  340,  343, 
332,  359,  362,  412,  463;  Assy- 
rian, 448. 

W'aterbirds,  repr.  of,  97,  286. 

Water-spout,  lion-headed,  499. 

"Wavy-line"  ornament,  66,  76,  1 12, 
1  18,  286,  290,  339. 

Weights,  270;  Babylonian,  430; 
other  Oriental,  430. 

Wheels,  repr.  of,  21,  146,463. 

Wheel,  potter's,  329,  338;  Wheel- 
made  Red  Ware  (Fabric  vii), 
41;  wheelmade  bodies  of  terra- 
cottas, 338. 

Whetstones,  266,  307. 

Whiskers,  repr.  of,  214. 

Wig,  Egyptian,  142,  138,201. 

W  ine,  inscr.,  309;  wine  jars,  102, 
103;    wine-press,  god  of,  305. 

Wings,  170;  of  archaic  Greek  fashion, 
169,  247;  scrolled,  230-1,  449; 
Greek  naturalistic,  170,  247, 
248;     winged    figure,    93,    419. 

Wolf,  repr.  of,  279. 

\\  omen,  repr.  of,  437;  baking  cakes, 
348;  on  \ases,  113,  113;  grind- 
ing corn,  347-48;  kneading 
dough,  347;  mourning,  307; 
winnowing,  347. 

Wood-work,  imitated  in  clay,  72, 
78. 

W  orship;  sfc  l^itual. 

Worshippers;   see  Notaries. 

Wreaths,  117,  128,  162,  187,  202-3, 
218,  222,  236,  238,  243,  248,  260, 
340,  410. 

Wrestler,  1  32. 

Writing,  systems  of,  299. 

Yhllow;  see  Paint. 
Yortan,  2 1 . 

Zeus,  i2();  inscr.,  309;  .Ammon,  181, 
361;  Labranios,  322;  Pheidian, 
210;    Serapis,  426. 

Zigzag  binding,  97,  1 12. 

Zoilos  of  Golgoi,  sculptor,  239. 

Zoomorphic  \ases,  13,  16,  23;  see 
.Animals. 

Zoothemis,   419. 

Zoteles,  419. 


596 


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